CHIHULY IN THE BeRKSHIRES
HANTZ E F\J E S ARY ART Street Stockbridge, MA 8.3044 BERKSHIRE MONEY MANAGEMENT
Wettl mak& it easy to nu>ve>youvportfolio.
November 15, 2007 Sample Market Calls (sell) of Berkshire Money Management
May 11, 2001 (sell)
April 4, 2010 (sell) January 1, 2002 (sell)
May 10, 2002 (sell)
September 28 2001 (buy) S&P 500 INDEX
DAILY DATA 1/02/2001-12/31/2010
October 11 2002 (buy)
MJ SDMJ SDMJ S D M J SDMJ D M J SDMJ S D
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May 11, 2001 (sell) May 10, 2002 (sell) November 15, 2007 (sell)
t
"Don't get too scientific.just ask yourself; "If [the NASDAQ] pierces the 1600 level "The obvious answer is a temporary position
does it feel like a recession? We don't think again, the prudent investor will not hold in cash."
it feels as bad as 1990-1991, but it is bad out for another relief rally...the NASDAQ is The stock market fell 48.9% after that sell enough." setting up for a retest of the September signal. [2007] lows of the 1400s." The stock market fell 16.5% until our next buy signal. October 11, 2002 (buy) March 6, 2009 (buy)
"Expect a bottom for the S&P 500 at 660 September 28, 2001 (buy) "The VIX broke 50 [on October 10th], and points." that is my buy signal this time." "Equity valuations are better than they have The stock market rose 63.2% from that buy been in years." The stock market rose 80% until our next signal to the end of 2009. sell signal. The stock market rose 10.4% until our next sell signal. April 4, 2010 (sell)
January 1, 2002 (sell) "...The bottom line is a correction is coming, but it's not a crash... Signs of a longer-than- "I've had my three months of bullishness, BERKSHIRE typical correction."
but now I must adhere, once again, to a more bearish sentiment." MONEY July 14, 2010 (buy) The stock market fell 30% until our next MANAGEMENT "...the correction is over...being in cash is a buy signal. risky proposition."
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The S&P 500 Index (S&P) has been used as a comparative benchmark because the goal of the above strategy was to provide equity-like returns. The S&P is one of the world's most recognized indexes by investors and the investment industry for the equity market. The S&P, however, is not a managed portfolio and is not subject to advisory fees or trading costs.
Investors cannot invest directly in the S&P 500 Index. The S&P returns also reflect the reinvestment of dividends. Berkshire Money Management is aware of the benchmark comparison guidelines set forward in the SEC Clover No-Action Letter (1986) and compares clients' performance results to a benchmark or a combination of benchmarks most closely resembling clients' actual portfolio holdings. However, investors should be aware that the referenced benchmark funds may have a different composition, volatility, risk, investment philosophy, holding times, and/or other investment-related factors that may affect the benchmark funds' ultimate performance results. Therefore, an investor's individual results may vary significantly from the benchmark's performance. All indicated stock market calls and associated commentary are that of Allen Harris & Berkshire Money Management and have no relationship to NDR/MDR. Visit Today
Art of the Americas Wing
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Museum of Fine Arts Boston mfa.org the new m James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate
130th season, 2010-2011
Trustees of the Boston Symphony Orchestra, Inc.
Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •
Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Roger T. Servison,
Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer
William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin •
• • • • Eric D. Collins Cynthia Curme Alan J. Dworsky William R. Elfers Judy Moss Feingold,
• • • • • ex-officio Nancy J. Fitzpatrick Michael Gordon Brent L. Henry Charles H.Jenkins, Jr.
Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. •
• • • Nathan R. Miller Richard P. Morse • Aaron J. Nurick, ex-officio Susan W. Paine
Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone
Caroline Taylor • Stephen R. Weiner • Robert C. Winters
Life Trustees
Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek
Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary •
• John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. Nina L. Doggett Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg Edna S. Kalman •
• George Krupp • Mrs. August R. Meyer • Mrs. Robert B. Newman William J. Poorvu Irving W. Rabb • Peter C. Read • Richard A. Smith • Ray Stata John Hoyt Stookey •
Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T Zervas
Other Officers of the Corporation
Mark Volpe, Managing Director • Thomas D. May, ChiefFinancial Officer • Suzanne Page, Clerk of the Board
Board of Overseers of the Boston Symphony Orchestra, Inc.
Judy Moss Feingold, Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin •
Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner •
Mark G. Borden • Partha Bose • Anne F Brooke • Stephen H. Brown • Gregory E. Bulger •
Joanne Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen •
Susan Bredhoff Cohen • Richard F Connolly, Jr. • Charles L. Cooney • Ranny Cooper •
James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger •
• • • • Ronald F Dixon Ronald M. Druker Alan Dynner Philip J. Edmundson Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. •
Steven S. Fischman • John F. Fish • Sanford Fisher • Robert Gallery • Robert P. Gittens •
Carol Henderson • Stuart Hirshfield • Susan Hockfield • Roger Hunt • William W. Hunt •
• Valerie Hyman • Ernest Jacquet • Everett L. Jassy • Stephen J. Jerome Darlene Luccio Jordan, Esq. • PaulL.Joskow • Stephen R. Karp • Douglas A. Kingsley •
Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade •
Charles • • • • • Larkin Robert J. Lepofsky Nancy K. Lubin Jay Marks Jeffrey E. Marshall
C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Robert Mnookin •
Paul • • • • M. Montrone Sandra O. Moose Robert J. Morrissey J. Keith Motley, Ph.D.
Cecile Higginson Murphy • Peter Palandjian • Vincent Panetta, Jr. • Joseph Patton •
Programs copyright ©201 1 Boston Symphony Orchestra Cover photo by Kevin Toler Ann M. Philbin • Wendy Philbrick • May H. Pierce • Claudio Pincus • Lina S. Plantilla, M.D. >
Joyce L. Plotkin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds •
Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg •
Joseph D. Roxe • Kenan Sahin • Donald L. Shapiro • Gilda Slifka • Christopher Smallhorn •
Michael B. Sporn, M.D. • Margery Steinberg • Patricia L. Tambone • Jean Tempel •
Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham •
Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal •
James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug
Overseers Emeriti
Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar •
George W. Berry • William T Burgin • Mrs. Levin H. Campbell • Earle M. Chiles •
Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis •
Mrs. Miguel de Braganca • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian •
Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish •
Myrna H. Freedman • Peter H.B. Frelinghuysent • Mrs. Thomas Galligan, Jr. •
Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz •
Michael Halperson • John Hamill • Deborah M. Hauser • Mrs. Richard D. Hill •
Marilyn Brachman Hoffman • Lolajaffe • Michael Joyce • Martin S. Kaplan •
Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K Kraft •
Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. •
Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. •
Joseph C. McNay • Albert Merck • John A. Perkins • Dr. Tina Young Poussaint •
• • Daphne Brooks Prout Patrick J. Purcell • Robert E. Remis • John Ex Rodgers Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton •
Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler •
• • Margaret Williams-DeCelles Mrs. John J. Wilsont Richard Wurtman, M.D. f Deceased
Established 1974 Berkshire Record Outlet
Classical CD Deletions & Overruns:
Top quality CDs, videos, musical scores, books, cassettes and LPs. Prices starting
$ at l .99. Over 1 3,000 classical music titles at a fraction of their original retail cost.
We also offer dozens of photographic reproductions of BSO tour posters and historic musicians at work and
r^B play, all of which are on display at our store. A sample
is shown to the left.
r * Our retail store/warehouse is 3.8 miles east of Stockbridge on Route 102 in Lee (please see map). Summer hours (6/27-8/29): Monday - Saturday, 10-5:30
kJI Exit 2 u Mass Lee Pike Arturo Toscanini, Vladimir Main St. ! Horowitz and Bruno Walter Red v L Lion BERKSHIRE 21" {Archivally mounted in acid-free 18" x white mat) Inn RECORD OUTLET
ROUTE 102, LEE • 413-243-4080 • WWW.BERKSHlRERECORDOUTLET.COM Administration
Mark Volpe, Managing Director, Eunice andJulian Cohen Managing Directorship, fully funded in perpetuity
Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship endowed in honor ofEdward H. Linde by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, ChiefFinancial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director ofDevelopment—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director ofDevelopment—Campaign and Individual Giving
Ray F. Wellbaum, Orchestra Manager
Administrative Staff/Artistic
Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator
Administrative Staff/Production
Christopher W. Ruigomez, Director of Concert Operations
H.R.Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant
Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Seiji Ozawa Hall Stage Manager • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager
Boston Pops
Dennis Alves, Director of Artistic Planning
Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor
Business Office
• Sarah J. Harrington, Director of Planning and Budgeting Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller
Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, StaffAccountant « Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang,
StaffAccountant • Audrey Wood, Senior Investment Accountant
Development
Joseph Chart, Director of Major Gifts • Susan Grosel, Director ofAnnual Funds • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director ofFoundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director ofDevelopment Communications • Jennifer Roosa Williams, Director ofDevelopment Research and Information Systems
Cara Allen, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Stephanie Baker, Campaign Manager • Amanda Bedford, Data Project Coordinator • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director ofDonor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data
Coordinator • Allison Goossens, Associate Director of Society Giving • David Grant, Development Operations Manager • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Dominic Margaglione,
Donor Ticketing Associate • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Directorfor Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager ofDevelopment Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager ofDevelopment Events and Volunteer
Services • Yong-Hee Silver, Major Gifts Officer • Erin Simmons, Major Gifts Coordinator •
Benjamin Spalter, Annual Funds Coordinator, Friends Program • Kenny Smith, Acknowledgment and
Gift Processing Coordinator • Thayer Surette, Corporate Giving Coordinator • Mary E. Thomson, Associate Director of Corporate Giving • Szeman Tse, Assistant Director ofDevelopment Research
Education and Community Programs
Claire Carr, Manager ofEducation Programs • Sarah Glenn, Assistant Manager ofEducation and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs
Facilities
C. Mark Cataudella, Director ofFacilities
SYMPHONY HALL OPERATIONS Christopher Hayden, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager
Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities
Coordinator • Shawn Wilder, Mailroom Clerk
MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier,
Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter Michael Maher, HVAC Technician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian •
Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire,
Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian
TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager
Ronald T Brouker, Grounds Supervisor • Peter Socha, Buildings Supervisor • Robert Casey, Painter •
Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer
Human Resources
Heather Mullin, Human Resources Manager Susan Olson, Human Resources Recruiter Kathleen Sambuco, Benefits Manager Information Technology
Timothy James, Director of Information Technology
Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Snehal Sheth, Business Analyst • David Tucker, Infrastructure Systems
Manager • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist
Public Relations
Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager
Publications
Marc Mandel, Director of Program Publications
Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising
Sales, Subscription, and Marketing
Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyerfor Symphony Hall and Tanglewood * Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing
Louisa Ansell, Marketing Coordinator • Caitlin Bayer, Subscription Representative • Susan Beaudry,
Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director ofE-Commerce and New Media • Lenore Camassar, Associate Manager, Symphony Charge • Theresa Condito, Access Services
Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle,
Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House •
Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office
and Social Media Manager • Michael King, Subscriptions Associate • Michele Lubowsky, Associate
Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, BSO Business
Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge
Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, E-Commerce
Marketing Analyst • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis,
Advertising and Events Manager * Laura Schneider, Web Content Editor • Robert Sistare,
Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead •
Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations
Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager
Box Office Representatives Mary J. Broussard • Arthur Ryan
Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Jean Cesar Villalon, Events Administrative Assistant
Tanglewood Music Center
Peter Grimm, Tanglewood Special Projects Manager • Andrew Leeson, Budget and Office Manager •
Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling
Tanglewood Summer Management Staff
Louisa Ansell, Tanglewood Front of House Manager • Thomas Cinella, Business Office Manager • Edward Collins, Logistics Operations Supervisor • Thomas Finnegan, Parking Supervisor • Peter Grimm, Seranak House Manager • David Harding, TMC Concerts Front of House Manager • Matthew Heck, Manager of Visitor Center 1
Boston Symphony Association of Volunteers
Executive Committee
Chair Aaron J. Nurick Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Wilma Michaels Secretary Audley Fuller
Co-Chairs, Boston
Richard Dixon • Gerald Dreher • Ellen Mayo
Co-Chairs, Tanglewood
Howard Arkans • Augusta Leibowitz • Alexandra Warshaw
Liaisons, Tanglewood
Ushers, William Ballen • Glass Houses, Ken Singer
Tanglewood Project Leads 201
Brochure Distribution, Robert Gittleman and Gladys Jacobson • Off-Season Educational
Resources, Norma Ruffer • Exhibit Docents, Susan Price and Roberta White • Friends Office,
David Galpern and Anne Hershman • Newsletter, Sylvia Stein • Recruit, Retain, Reward,
Carole Siegel and Bonnie Desrosiers • Seranak Flowers, Sandra Josel and Diane Saunders •
Talks and Walks, Rita Kaye and Linda Lapointe • Tanglewood for Kids,. Judy Benjamin •
This Week at Tanglewood Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman and
Pam Levit Beiderman, Robert Braun and Carol Braun • Tour Guides, Ron and Elena Winter
Tanglewood Visitor Center
The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate.
You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission on Saturday, and from noon until 5 p.m. Sunday. The Visitor Center is open from July 1 through August 28. There is no admission charge. —
Exhibits at the Tanglewood Visitor Center
Tanglewood on Parade: A Retrospective
This year's special focus exhibit at the Tanglewood Visitor Center examines the origins and history of Tanglewood on
Parade (TOP). One of Tanglewood 's most beloved traditions, TOP dates back to 1940, when BSO Music Director Serge Koussevitzky organized an "Allied Relief Fund Benefit" concert. This event included performances by students of the newly founded Berkshire Music Center (now the Tanglewood Music Center) representing the various musical activities going on at Tanglewood chamber music, orchestral music, brass fanfares, opera scenes, choral perform- Boris Goldovsky, head of the Opera ance—and thereby provid- Department at the Berkshire Music ing Koussevitzky an oppor- Center, announces the events given tunity to showcase the con- by each of the departments at the siderable talents and Music Center, c. 1948 (photo by Will Plouffe Studio) accomplishments of the Music Center students. In 1946, following the war, the benefit was renamed Tanglewood
on Parade and became an annual celebration of, and fund- BSO Music Director Seiji Ozawa, with bass raiser to support, the activities of the Music Center. drum, leads a group of Music Center percus- sionists during a rehearsal for Tanglewood on Parade, 1976 (photo by Heinz Weissenstein/ Whitestone Photo)
^h Also on Display: Celebrating Phyllis Curtin
This summer's Visitor Center exhibit also pays tribute to soprano Phyllis Curtin, who has remained a mainstay of the TMC's Vocal Department since 1963, when her now famous vocal master classes were first initiated. But her connection to the Music Center extends back much earlier—to 1946, when she first attended the Music Center as a student in the Opera Department, and in which year she was a cast member in the American premiere at Tanglewood of Benjamin Britten's opera Peter Grimes, which was com- missioned by Serge Phyllis Curtin in costume as Lisa for Koussevitzky and con- the 1951 Berkshire Music Center ducted by Leonard Bern- Phyllis Curtin demonstrates vocal breathing tech- production of Tchaikovsky's Pique nique to a Tanglewood Music Center Vocal Fellow, S Dame (BSO Archives) c. 1982 (photo by Walter H. Scott) Tanglewood GLASS HOUSE
Excitement of Discovery
Visit the Glass House for a pleasurable shopping experience!
View our 2011 collection, including apparel, recordings, unique gifts, and great Tanglewood mementos. Stop by both of our locations: The Glass House Main Gate or The Glass House Highwood Gate. Enjoy browsing the displays and make your own selections.
Shop for yourself, or for someone special, and savor the spirit of Tanglewood.
MAIN GATE: HIGHWOOD GATE: Monday-Thursday, ioam-4pm Performance Hours Friday, ioam-30 minutes post-concert Saturday, gam-so minutes post-concert Sunday, noon-6pm
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1 Tanglewood The Tanglewood Festiva
In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philhar- monic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer.
The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, draw- ing a total of nearly 15,000 people.
In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tap- pan offered Tanglewood, the Tappan
family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on
August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program.
A tangle of traffic at the Main Gate of Tanglewood in the 1950s At the all-Wagner concert that opened (BSO Archives) the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether
of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion."
Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well
beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed, ...which any builder could accomplish without the aid of an architect." The Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the
evening of August 4, 1938, when the first concert of that year's festival was given, and remains, with modifications, to this day. It has echoed with the music of the Boston Symphony Orches- tra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.
In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its opera- tions. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios
were finished, and the festival had so expanded its activities and its reputation for excellence
that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tanglewood Music Center's opera
productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer's Grove, Illinois, and representing the first new concert facility to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the var- ied recital and chamber music concerts offered by the Boston Symphony Orchestra through-
out the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tangle- wood each summer, the Boston University Tanglewood Institute sponsors a variety of pro- grams that offer individual and ensemble instruction to talented younger students, mostly of high school age.
Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday- and Saturday- evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Con- temporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a vast
range of musical forms and styles, all of it presented with a regard for artistic excellence that makes the festival unique.
The Tanglewood Music Center
Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.
The Music Center opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony,
arrived less than an hour before the event began but made such an impression that it contin- ues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors.
Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky's hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's pro- grams at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as gen- eral advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC's Fellowship Program—advanced musicians who generally have completed all or most of their formal training—participate in an intensive program including chamber and orchestral music, opera, and art song. All partic- ipants receive full fellowships covering tuition, room, and board. TMC Orchestra highlights this summer include Leonard Bernstein's Symphony No. 2, The Age of Anxiety, conducted by Miguel Harth-Bedoya, which opens the orchestra's season on July 5 in Seiji Ozawa Hall, and
its closing all-Brahms concert in the Shed led by Rafael Fruhbeck de Burgos on August 14, with mezzo-soprano Stephanie Blythe and the Tanglewood Festival Chorus. TMCO performances on July 11 with conductor Stefan Asbury and on July 17 with Kurt Masur will also showcase TMC Conducting Fellows.
The Mark Morris Dance Group's annual residency on June 28 and 29 will include a new TMC-commissioned Mark Morris work choreographed to Stravinsky's Renard. The music for this, and for Morris's Italian Concerto (to Bach's key- board work) and Frisson (to Stravinsky's
Symphonies of Wind Instruments) , will be performed by Instrumental and Vocal Fellows of the TMC, on a program that also reprises Morris's Falling Down Stairs, The TMC Orchestra with Conducting Fellow Keitaro Harada in with Yo-Yo Ma playing Bach's Cello Suite the final concert of the 2010 Festival of Contemporary Music No. 3. In addition, Mark Morris will (photo: Hilary Scott) direct a special evening of song and short, whimsical operas by Darius Milhaud on July 10. TMC string players start the season with a week-long intensive study of the string quartet, culminating in marathon concerts on June 28 and 29. All of the TMC Fellows participate in chamber music programs in Ozawa Hall through- out the summer, notably on Sunday mornings at 10 a.m.—the first being a "Brass Extravaganza" on July 3—and, starting July 9, on Saturdays at 6 p.m. prior to BSO concerts.
The Festival of Contemporary Music (FCM) , an annual five-day celebration of the music of our time, will this year be directed by the distinguished American composer Charles Wuorinen, who will open the Festival conducting the world premiere of his It Happens Like This, a secular cantata to texts ofJames Tate, commissioned by the TMC and dedicated to James Levine. Six concerts presenting a wide spectrum of musical styles will include two additional TMC com- missions in their world premieres: Fred Ho's Fanfare to Stop the Creeping Meatball, which will open five of the performances; and John Zorn's A Rebours, a concerto for solo cello and ensemble with soloist Fred Sherry, to be performed on August 4. Other guest artists will include the new music group Ensemble Signal and pianist Ursula Oppens, the latter performing a Prelude Concert before the Festival's concluding orchestra concert on August 8, which will feature music of Felipe Lara, Jo Kondo, Andrew Norman, David Felder, and Christopher Rouse.
It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, David Del Tredici, Christoph von Dohnanyi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman.
Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow. TO STOCKBRIDGE C B A Bai
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TO LENOX In Consideration of Our Performing Artists and Patrons
Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center.
Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Koussevitzky Music Shed or Ozawa Hall.
Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals.
Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners.
For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall.
In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts.
Thank you for your cooperation.
Tanglewood Information
PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666.
BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at
tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web.
TANGLEWOOD 's WEB SITE at tanglewood.org provides information on all Boston Symphony
Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly.
FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at
Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431.
IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your automobile will provide the safest possible shelter during a severe lightning storm. Re- admission passes will be provided.
FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as
noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the intermission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go may be ordered online in advance at tanglewood.org or by phone at (413) 637-5240. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAYBE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed.
FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.
KIDS' CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further informa- tion about Kids' Corner is available at the Visitor Center.
OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. New This Year: Seating in the Koussevitzky
Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is
$10. Tickets are available at the Tanglewood box office. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas.
LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.
FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.
PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).
THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.
THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.
Severe Weather Lawn Evacuation Plan
IN THE EVENT OF A SEVERE STORM ALERT, please seek shelter in the building areas
of refuge nearest you, or, if closer, in your vehicles, until notification of safe condi- tions.
SEVERE STORM SHELTER LOCATIONS are indicated on the map in the Tanglewood program book and on maps of Tanglewood posted at the gate areas. Information on severe storm shelter locations is also available at the Main Gate. PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during
storm conditions and will be resumed when it is safe to do so. 1
Boston Symphony Orchestra
Tanglewood 201
James Levine Bonnie Bewick* Xin Ding* Owen Young * Stephanie Morris Marryott JohnF. Cogan,Jr., and Music Director Glen Cherry* and Franklin Marryott Mary L. Cornille chair, Ray and Maria Stata Music J. chair Yuncong Zhang* fully funded in perpetuity Directorship, fully funded * in perpetuity James Cooke Gerald Elias° Mickey Katz* Catherine and Paul Stephen and Dorothy Weber Bernard Haitink Buttenwieser chair chair, fully funded * Violas in perpetuity Conductor Emeritus Victor Romanul LaCroix Family Fund, Bessie Pappas chair Steven Ansell Alexandre Lecarme* fully funded in perpetuity Principal Richard C. and Ellen E. Catherine French * Charles S. Dana chair, Paine chair, fully funded Mary B. Saltonstall chair, Seiji Ozawa endowed in perpetuity in perpetuity fully funded in perpetuity Music Director Laureate in 1970 Adam Esbensen * Jason Horowitz* Cathy Basrak Kristin and Roger Servison Blaise Dejardin* First Violins Assistant Principal chair Anne Stoneman chair, fully Malcolm Lowe Julianne Lee* funded in perpetuity Basses Concertmaster Donald C. and Ruth Brooks Gazouleas Charles Munch chair, Edward Barker Heath chair, fully funded Edwin fully funded in perpetuity Lois and Harlan Anderson in perpetuity Principal chair, fully funded Harold D. Hodgkinson Tamara Smirnova in perpetuity chair, endowed in perpetuity Associate Concertmaster Second Violins in 1974 Helen Horner Mclntyre Robert Barnes chair, endowed in perpetuity Haldan Martinson Michael Zaretsky Lawrence Wolfe in 1976 Principal Assistant Principal Marc Jeanneret Maria Nistazos Stata chair, Alexander Velinzon Carl SchoenhofFamily chair, fully funded * fully funded in perpetuity Assistant Concertmaster Mark Ludwig in perpetuity Robert L. Beal, Enid L., Benjamin Levy Rachel Fagerburg * and Bruce A. Beal chair, Vyacheslav Uritsky Leith Family chair, fully endowed in perpetuity Assistant Principal Kazuko Matsusaka* funded in perpetuity in 1980 Charlotte and Irving W. Rebecca Gitter* Dennis Roy§ Rabb chair, endowed Elita Kang Joseph andJan Brett in perpetuity in 1977 Assistant Concertmaster Hearne chair Edward and Bertha C. Rose Sheila Fiekowsky Cellos Joseph Hearne chair Shirley and Richard J. Jules Eskin Fennell chair, fully funded Bo Youp Hwang Principal James Orleans* in perpetuity John and Dorothy Wilson Philip R. Allen chair, Todd Seeber* chair, fully funded endowed in perpetuity Ronald Knudsen Eleanor L. and Levin H. in perpetuity in 1969 David H. and Edith C. Campbell chair, fully Howie chair, Lucia Lin fully funded Martha Babcock funded in perpetuity in perpetuity Dorothy and David B. Assistant Principal Q. John Stovall* Arnold, Jr., chair, fully Ronan Lefkowitz Vernon and Marion Alien funded in perpetuity chair, endowed in perpetuity Jennie Shames* in 1977 Flutes Ikuko Mizuno Valeria Vilker Muriel C. Kasdon and Sato Knudsen Elizabeth Rowe Marjorie C. Paley chair Kuchment* Mischa Nieland chair, fully Principal funded in perpetuity Nancy Bracken * Tatiana Dimitriades* Walter Piston chair, endowed in perpetuity Ruth and Carl Shapiro Mihail Jojatu J. Si-Jing Huang* in 1970 chair, fully funded Sandra and David Bakalar in perpetuity Nicole Monahan* chair (position vacant) * Myra and Robert Kraft Aza Raykhtsaum Wendy Putnam * Jonathan Miller* chair, endowed in perpetuity Theodore W. and Evelyn Robert Bradford Newman Charles andJoAnne in 1981 Berenson Family chair chair, fully funded Dickinson chair in perpetuity Elizabeth Ostling Suzanne Nelsen Michael Martin Voice and Chorus Associate Principal John D. and Vera M. Ford H. Cooper chair, Marian Gray Lewis chair, MacDonald chair endowed in perpetuity John Oliver Festival fully funded in perpetuity in 1984 Tanglewood Richard Ranti Chorus Conductor Associate Principal Alan J. and Suzanne W. Piccolo Diana Osgood Tottenham/ Trombones Dworsky chair, fully funded Hamilton Osgood chair, in perpetuity Cynthia Meyers fully funded in perpetuity Toby Oft Evelyn and C. Charles Principal Marran chair, endowed J.P. and Mary B. Barger Librarians in perpetuity in 1979 Contrabassoon chair, fully funded in perpetuity Marshall Burlingame Gregg Henegar Principal Oboes Helen Rand Thayer chair Stephen Lange Lia and William Poorvu chair, fully funded John Ferrillo in perpetuity Principal Horns Bass Trombone Mildred B. Remis chair, William Shisler Sommerville Douglas Yeo endowed in perpetuity James Principal Moors Cabot chair, Perkel in 1975 John John Helen Sagoff Slosberg/Edna fully funded in perpetuity Mark McEwen S. Kalman chair, endowed James and Tina Collias in perpetuity in 1974 Assistant chair Tuba Conductors Richard Sebring Keisuke Wakao Associate Principal Mike Roylance Marcelo Lehninger Assistant Principal Margaret Andersen Principal Anna E. Finnerty chair, Margaret Farla and Harvey Chet Congleton chair, fully and William C. fully funded in perpetuity Krentzman chair, fully funded in perpetuity Rousseau chair, fully Sean Newhouse funded in perpetuity funded in perpetuity (position vacant) Elizabeth B. Storer chair, Personnel English Horn fully funded in perpetuity Timpani Managers Robert Sheena (position vacant) Timothy Genis G. Beranek chair, fully funded John R II and Nancy S. Sylvia Shippen Wells chair, Lynn Larsen Eustis chair, fully funded endowed in perpetuity in perpetuity Bruce M. Creditor in perpetuity in 1974 Timothy Tsukamoto Clarinets Jason Snider Assistant Personnel Gordon and Mary Ford Percussion Managers William R. Hudgins Kingsley Family chair Principal Frank Epstein Ann S.M. Banks chair, Jonathan Menkis Peter and Anne Brooke Stage Manager endowed in perpetuity Jean-Noel and Mona N. chair, fully funded John Demick in 1977 Tariot chair in perpetuity
Michael Wayne J. William Hudgins Trumpets Peter Andrew Lurie chair, Thomas Martin fully funded in perpetuity Thomas Rolfs Associate Principal & * participating in a system E-flat clarinet Principal W. Lee Vinson of rotated seating Stanton W. and Elisabeth Roger Louis Voisin chair, Barbara Lee chair § on sabbatical leave K. Davis chair, fully funded endowed in perpetuity Daniel Bauch ° in perpetuity in 1977 substituting Assistant Timpanist Benjamin Wright Mr. and Mrs. Edward H. Bass Clarinet Arthur and Linda Gelb Linde chair chair Craig Nordstrom Thomas Siders Harp Assistant Principal Bassoons Kathryn H. and Edward Jessica Zhou Nicholas Thalia M. Lupean chair and Zervas Richard Svoboda chair, fully funded in Principal perpetuity by Sophia Edward A. Taft chair, and Bernard Gordon endowed in perpetuity in 1974 A Brief History of the Boston Symphony Orchestra
Now in its 130th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than 125 years. The Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, China, and Russia; in addition,
it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most impor-
tant composers; its summer season at Tanglewood is one of the world's most
important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the
entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orches-
tra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international stan- dard for the performance of lighter kinds of music. Overall, the mission of the
Boston Symphony Orchestra is to foster and maintain an organization dedicat- ed to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs
at the highest level of excellence. This is accomplished with the continued
support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and indi- viduals. Major Henry Lee Higginson, founder of the Boston Henry Lee Higginson dreamed of founding a great and permanent orchestra Symphony Orchestra in his home town of Boston for many years before that vision approached reality (BSO Archives) in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the cen- tennial of Symphony Hall, and the rich history of music performed and introduced to the
world at Symphony Hall since it opened over a century ago.
The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882 (BSO Archives) . —
Georg Henschel was succeeded by a series of German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appoint- ment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.
In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as con- ductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian- born Serge Koussevitzky's time, with the employment of many French-trained musicians.
The Koussevitzky era began in 1924. His extraordinary musician- ship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live con- cert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the orchestra's first con- certs in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for Serge Koussevitzky arriving at musicians," and in 1940 that was realized with the founding Tanglewood prior to a concert dream (BSO Archives) of the Berkshire Music Center (now called the Tanglewood Music Center)
In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be
succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams.
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A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) Charles Munch followed Koussevitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest.
Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music advisor and three years as an artistic director at Tanglewood. His historic twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaffirmed the Rush ticket line at Symphony Hall, probably in the 1930s BSO's commitment to new music through the (BSO Archives) commissioning of many new works (including commissions marking the BSO's centennial in 1981 and the TMC's fiftieth anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra.
In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide-ranging programs balance great orchestral, operatic, and choral classics with equally significant music of the 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Leon Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Cham- ber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Mr. Levine and the BSO have released a number of recordings, all drawn from live performances at Symphony Hall, on the orchestra's own label, BSO Classics. He and the BSO toured Europe together in late summer 2007, performing in the Lucerne Festival, the Schleswig-Holstein Festival (in Ham- burg), Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London.
Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston. m '
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DiE LIEBE DER DANAE THE WILD DUCK Twenty-Second Season film, cabaret, and the 22nd annual By Henrik Ibsen SIBELIUS AND HIS WORLD • j.- By Richard Strauss n -i i. r i xu- J Bard Music Festival, this year Orchestra Directed by Caitriona McLaug , American Symphony .... , ,tr Twelve concert performances, as well as exploring the works and world of conducted by Leon Botstein THEATER TWO July 13 -24 panel discussions, preconcert talks, and composer Jean Sibelius. Staged in the Directed by Kev|n Newbury films, examine the music and world of extraordinary Richard B. Fisher Center Production design by Rafae , vifio | y Operetta Finnish composer Jean Sibelius. for the Performing Arts and other and Mimi Lien August 12-14 and 19-21 venues on Bard's stunningD Mid Hudson BITTER SWEET SOSNOFF THEATER July 29-29 -AugustAugi. 7 River Valley campus, SummerScape Music and libretto by Noel Coward P 1 lint (ii Ij L IFF FISHER In\\ PT-i CENTER £t> JtUk- «J£. : PERFORMING ARTS ft .'ii"; Annandale-on-Hudson, New York THE BARD MUSIC FESTIVAL presents JJJL Sibelius and His World AUGUST 12-14 AND 19-21 Twelve concert performances, as well as panel discussions, preconcert talks, andfilms, examine the music and world of Finnish composer Jean Sibelius. WEEKEND ONE Imagining Finland Jean Sibelius: National Syr , Leon Botstein, conductc Orchestral works by Sibelius Jay, August IS program two Berlin and Vienna: The Artist as a Young Man Chamber works by Sibelius. Goldmark. Fuchs, Busoni program three Kalevala: Myth and the Birth of a Nation American Symphony Orchestra. Leon Botstein, conductor Orchestral works by Sibelius and Kajanus Sunday. August 14 program four White Nights —Dark Mornings: Creativity. Depression, and Addiction Chamber works by Sibelius, Grieg, Peterson-Berger, Delius Aurora Borealis: Nature and Music in Finland and Scandinavia Chamber works by Sibelius, Grieg, Stenhammar, Kuula To the Finland Station: Sibelius and Russia Chamber works by Sibelius, Tchaikovsky, Glazunov. Rachmaninov WEEKEND TWO Sibelius: Conservative or Modernist? lay August 19 Nordic Purity, Aryan Fantasies, and Music Chamber works by Sibelius, Bruckner, Atterberg. Kilpinen Saturday, August 20 program light From the Nordic Folk Chamber works by Sibelius, Grieg. Grainger, Ravel, Kuula Finnish Modem Chamberworks by Sibelius, Melartin, Madetoja. Merikanto The Heritage of Symbolism American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Sibelius and Raitio Sunday August 21 prc Nostalgia and the Challenge of Modernity Chamber works by Sibelius, Strauss, Respighi American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Sibelius. Barber. Vaughan Williams m- ' ^^-a^^- p^^hii 'I HHbik ^9^K .'H^^-" i^^^^MflS ^b *t'f 9 fWil ftl>IMi>hlJl B ^1 HJ^ ^B ^1 : ^^^^ -^*i 9) P^^ Utt - kiiiSl?"''"'^?' i ' stockbridgo , iii.isn.k1hi.scu> H ~^~> Table of Contents Friday, August 12, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA IEVAJOKUBAVICIUTE, piano Music of Dahl and Dvorak Friday, August 12, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA RAFAEL FRUHBECK DE BURGOS conducting; PEPE ROMERO, guitar Music of Bizet, Rodrigo, Boccherini/Berio, Falla, Granados, and Gimenez 21 "Norio Ohga: A Remembrance" by Caroline Taylor Saturday, August 13, 8:30pm 25 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNANYI conducting; YO-YO MA, cello Music of Prokofiev, Schumann, and Brahms Sunday, August 14, 2:30pm 36 TANGLEWOOD MUSIC CENTER ORCHESTRA RAFAEL FRUHBECK DE BURGOS conducting; STEPHANIE BLYTHE, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS Music of Fruhbeck de Burgos and Brahms "This Week at Tanglewood" Once again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for "This Week at Tanglewood" hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week's guests, on Friday, August 12, are guitarist Pepe Romero and clarinetist Anthony McGill, who appears with Emanuel Ax and Yo-Yo Ma in Ozawa Hall this Sunday night. The series continues through Friday, August 26, the final weekend of the BSO's 2011 Tanglewood season. Saturday-Morning Open Rehearsal Speakers July 9, 16, 30; August 13—Robert Kirzinger, BSO Assistant Director of Program Publications July 23; August 6, 20, 27—Marc Mandel, BSO Director of Program Publications Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY TANGLEWOOD WEEK 6 TABLE OF CONTENTS — — 2011 Tanglewood SEIJI OZAWA HALL Prelude Concert Friday, August 12, 6pm Florence Gould Auditorium, Seiji Ozawa Hall MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA HALDAN MARTINSON, violin MICKEY KATZ, cello JULIANNE LEE, violin MICHAEL WAYNE, clarinet REBECCA GITTER, viola IEVA JOKUBAVICIUTE, piano DAHL "Concerto a tre" for clarinet, violin, and cello (1947) Allegretto comodo Assai moderato, esitando Presto Mr. WAYNE, Ms. LEE, and Mr. KATZ DVORAK Quintet in A for piano and strings, Opus 81 Allegro, ma non tanto Dumka: Andante con moto Scherzo (Furiant) : Molto vivace Finale: Allegro Mr. MARTINSON, Ms. LEE, Ms. GITTER, Mr. KATZ, and Ms. JOKUBAVICIUTE ^ Bank of America is proud to sponsor the 2011 Tanglewood season. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performer and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. NOTES ON THE PROGRAM Ingolf Dahl (1912-1970) was born in Hamburg and studied in Germany and Switzer- land, like so many others having been driven out of the country of his birth by the rise to power of the Nazi regime. By 1938 he followed the lead of Schoenberg and others by leaving Europe altogether and settling in the United States, in Los Angeles, which was the area of choice as well for Stravinsky and Schoenberg. Like another misplaced German, Paul Hindemith, Dahl was a musician's musician, a great teacher whose professional activities also included composing in a variety of genres (including film and radio) performing as a pianist, and conducting. As a conductor, leading , the University of Southern California's orchestra, he was an important proponent of new music. In addition to a long-term faculty position at USC (1945-70), Dahl was on the faculty of the Berkshire Music Center from 1952 to 1957. At USC one of his pupils was Michael Tilson Thomas, who, as a Boston Symphony principal guest conductor, introduced Dahl's music to the BSO repertoire by leading his Saxophone Concerto in January 1971, the year after Dahl's death. Michael Tilson Thomas wrote at that time a warm reminiscence of his teacher and colleague. Of Dahl as a composer, he wrote: Ingolf Dahl was above all a real composer. His output of more than thirty com- positions includes masterworks, among which especially the Sonata seria, Concerto a tre, Trio, Concerto for Saxophone, and Music for brass instruments stand as some of the finest pieces of the last thirty years. He never took the easy or fash- ionable way out in his works and would revise them until, like the works of Bach and Ockeghem he much admired, they had a sense of oneness, of tension and balance and hidden craft like a work of architecture. Never a prolific composer, Dahl produced only a relatively small number of pieces; the size of his catalog can be attributed to his fastidiousness as well as to his extremely broad and varied musical career. Like Hindemith's, Dahl's earliest music is infused with the progressive expressionism of the German between-the-wars period, but as his voice came into its own following his arrival in the U.S., and in part due to the influence of Stravinsky, Dahl's music took on an increasing transparency and a neo- classical flavor, which is reflected in the Concerto a tre. The composer wrote of his piece: The Concerto a tre is dedicated to a Swiss conductor who plays the clarinet and who suggested the basic thematic idea to the composer. This idea consists of six "This Week at Tanglewood" Another way to add more to your Tanglewood experience, "this week at tanglewood" is a panel discussion featuring special guests who will provide commentary and answer questions about the upcoming week's concerts. Shed, Fridays at 7:15pm. Sponsored by: Attendance is free with tickets to Friday evening's concert. HARVARD UNIVERSITY Hosted by Martin Bookspan. EXTENSION SCHOOL TANGLEWOOD WEEK 6 PRELUDE PROGRAM NOTES notes: E-flat, B-flat, B-flat, C, F, F. The character of the work is concertante and playful but at the same time very strictly organized on the basis of this "thematic germ.". ..Although written in one continuous movement, the Concerto clearly falls into three symmetric sections to which a fast coda is added. The Allegro opening section (in which the main theme is not presented at the outset but "evolves" gradually) is not written in any of the traditional forms, but it creates its own form in a variety of interrelated short sections. Rhythm (sometimes reminiscent ofjazz techniques) and polyphony are the musical elements most in the foreground. (In a little episode near the beginning, marked bucolico, a faint echo of the fifths and fourths of Swiss folk music can be interpreted as a tribute to that county where the composer spent many of his youthful years.) The slow central part of the Concerto begins with an intricately worked out color contrast: the warm tone of the clarinet is accompanied by the cold sounds of high string harmonics and open strings. In this Moderato part, organ-like sonorities alternate with long flowing melodies which culminate in a climactic central section. It ends with a brilliant cadenza for the clarinet. This cadenza leads back to a return of the opening of the work, which is varied and fugally developed. Without break, the movement gains momentum and ends in a Presto which carries in headlong flight to the end. The Concerto a ftrwas composed in 1946-47. Its first performance was given by Benny Goodman in Los Angeles, with Eudice Shapiro and Victor Gottlieb play- ing the string parts. Antonin Dvorak (1841-1904) had written a piano quintet in A major (which he called Opus 5) in the late summer of 1872. Despite a performance in Prague that November, the composer was dissatisfied with it and destroyed his copy of the score. Fifteen years later he had second thoughts and asked the impresario of that 1872 concert to send him his copy of the quintet, which still survived, in order to attempt a revision. He did make drastic changes, but the improvement was not, to his mind, great enough to induce him to offer the work to a publisher. Instead he decided to start over from scratch rather than waste further time on juvenilia. A few months later he began his second piano quintet, also in A major, an incomparably greater work composed during one of the happiest periods of his life, when he was living at his country home in Vysoka and writing in his best nationalistic vein. The composi- tion took six weeks in all, from August 18 to October 3, 1887. The most obvious nationalistic Czech element in the score is the second movement, labeled "dumka," a term Dvorak is responsible for introducing into musical terminol- ogy, although he could not define it precisely (or perhaps did not care to try). He used it a few years later as an overall title for the Dumky Trio, Opus 90; while that piece was still in manuscript. Dvorak played it through in New York with two of his colleagues from the National Conservatory of Music. The cellist on that occasion was PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a first-come, first-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats. . Victor Herbert, who recalled later: "We liked the composition immensely and I asked him what 'Dumbka' [sic] meant in Bohemia—He thought for a while—shook his head and said to our surprise: 'It means nothing—what does it mean?' " Grove's Dictionary defines dumka (plural dumky) as a Ukrainian word meaning "lament," usually used in music for a slow expressive movement containing a number of short contrasting sections (not all of them lugubrious) Actually the variety of moods in the quintet ranges as widely as anything in Dvorak's output. Although the quintet as a whole is in the major mode, the first theme turns almost immediately from A major to A minor, and the second theme (first stated by viola) is a pensive tune in C-sharp minor. The closing measures are assertive, but they do not entirely outweigh the generally grave character of much of the move- ment. We are thus prepared for the melancholy of the dumka (in F-sharp minor) that follows. A slow figure on the piano, decorated by tremolos to suggest folk improvisation, precedes and follows the main theme heard in the viola. This alter- nates with a contrasting lighter section in the major mode and later with a vivace contrast, but the main lamenting theme keeps recurring throughout. The scherzo is called a furiant by Dvorak, but it lacks the characteristic rhythmic shift (two bars of 3/4 fusing to form one of 3/2) of the genuine furiant—rather it is a waltz tinged with Bohemian accents. The middle section is haunted by a ghostly rec- ollection of the main tune. The finale is more outgoing, with echoes of folk dance throughout and a vigorous, satisfying conclusion. Notes by ROBERT KIRZINGER (Dahl) and STEVEN LEDBETTER (Dvorak) Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Artists Haldan Martinson joined the Boston Symphony Orchestra as a section violinist in November 1998 and was appointed to his current position of principal second violin in the summer of 2000. As principal second violin of the BSO, he is also a member of the Boston Symphony Chamber Players. Mr. Martinson made his solo debut with the Los Angeles Philharmonic in 1990 and his national television debut in 1988 performing on Johnny Carson's Tonight Show. He has also been soloist with numerous other orches- tras, including the Waterloo-Cedar Falls Symphony Orchestra, the Metamorphosen Chamber Orchestra, and the Yale Symphony Orchestra. He is the recipient of numer- ous prizes, scholarships, and awards, including the Spotlight Award of the Los Angeles Music Center, and has participated in the chamber music festivals of Ravinia, Taos, Santa Fe, and Lajolla. From 1996 to 1998 he was a member of the Metamorphosen Chamber Ensemble. From 1998 to 2002 he was a member of the critically acclaimed Hawthorne String Quartet. Mr. Martinson holds a B.A. in music from Yale College, where he was awarded the Louis Sudler Prize, one of the most prestigious awards granted by the university. He was concertmaster of the Yale Symphony Orchestra from 1991 to 1994. He received his master of music degree from the New England Conser- vatory of Music in 1997. His former teachers have included Robert Lipsett, Endre TANGLEWOOD WEEK 6 PRELUDE PROGRAM NOTES Granat, David Nadien, Aaron Rosand, and James Buswell. Mr. Martinson is also a prize- winning composer whose works for string ensemble have been featured frequently in concert. One of his works, Dance of the Trolls for string orchestra, was commissioned by the Crossroads Chamber Orchestra in 1988 and has since been performed throughout Southern California. A member of the Boston Symphony Orchestra since 2007, Julianne Lee recently received the Presser Music Award. She made her solo debut at age seven with the Lake Placid Symphonietta and has also appeared as soloist with the KBS Symphony Orchestra in Korea and the Baden-Baden Philharmonie in Germany. Her chamber music collab- orations include concerts with such renowned artists as Joseph Silverstein, Peter Wiley, Roger Tapping, Samuel Rhodes, and Arnold Steinhardt. Ms. Lee has participated at the Marlboro Music Festival and Santa Fe Chamber Music Festival and toured Europe with the Australian Chamber Orchestra as guest principal violist. She holds a bache- lor's degree in violin performance and a diploma in viola performance from the Curtis Institute of Music, where she studied with Victor Danchenko, Joseph Silverstein and Joseph DePasquale. She received her master's degree from the New England Con- servatory of Music, working with Donald Weilerstein and Kim Kashkashian. Born in Canada, violist Rebecca Gitter began studying Suzuki violin at seven and viola at thirteen. In May 2001 she received her bachelor of music degree from the Cleveland Institute of Music, where she was a student of Robert Vernon, having previously stud- ied in Toronto, Ontario. While at CIM she was the recipient of the Institute's Annual Viola Prize and the Robert Vernon Prize in Viola, and twice received honorable men- tion in the school's concerto competition, resulting in solo performances. Among other honors, she was the 2000 recipient of Toronto's Ben Steinberg Jewish Musical Legacy Award and, prior to her BSO appointment, was offered a position in the Detroit Symphony Orchestra. She was a summer participant in the Taos School of Music, the Marlboro Festival, Ravinia's Steans Institute for Young Artists, and the National Academy and National Youth Orchestras of Canada. Ms. Gitter joined the viola section of the Boston Symphony Orchestra in August 2001. A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in Septem- ber 2004, having previously been principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo, performer, chamber musician, and contemporary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tanglewood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. A passionate performer of new music, he pre- miered and recorded Menachem Wiesenberg's Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, Gyorgy Kurtag, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on challenging new pieces and collaborates with young composers. An active chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians from Marlboro tour, collaborating with such distinguished players as Pinchas Zukerman, Tabea Zimmer- mann, Kim Kashkashian, and Gilbert Kalish. A graduate of the New England Con- servatory of Music, he completed his mandatory military service in Israel as a part of the "Distinguished Musician Program," playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in many outreach and educational concerts for soldiers and other audiences. Michael Wayne joined the Boston Symphony Orchestra's clarinet section in September 2008. He has performed as an orchestral, chamber, and solo musician throughout North and South America, Europe, and Asia. After finishing his studies at the University of Michigan in 2003, Mr. Wayne became a member of the Kansas City Symphony. In addition to his duties in Kansas City, he was also a member of the Grand Teton Festival Orchestra. Mr. Wayne has performed with the New World Symphony, Phoenix Sym- phony, and Kansas City Chamber Orchestra, and at the Colorado Music Festival. In 2005 he gave the world premiere of Michael Daugherty's clarinet concerto Brooklyn Bridge at Carnegie Hall, subsequently recording the work for Equilibrium Records. He made his solo debut performing Nielsen's Clarinet Concerto, and has performed as soloist with such ensembles as the University of Michigan Symphony Orchestra and Corpus Christi Wind Symphony. Mr. Wayne received first place in the wind division of the Kingsville International Solo Competition and was also a medalist at the Fischoff National Chamber Music Competition. He has participated in festivals including Music Academy of the West, Verbier, National Orchestral Institute, and Hot Springs Music Festival. In 2003 Mr. Wayne received a Whitaker Advanced Study Grant through the Music Academy of the West to further his studies in orchestral clarinet performance. Other honors include the Earl V. Moore Award in Music from the University of Michi- gan and a Fine Arts Award from the Interlochen Arts Academy. His teachers include Richard Hawkins and Fred Ormand. Acclaimed for her performances in recital, with orchestra, in chamber music, and as a collaborative pianist in art song, Lithuanian pianist leva Jokubaviciute performs regu- larly for audiences in the United States, Europe, and South America. In 2006 she was honored as a recipient of a Borletti-Buitoni Trust Fellowship. Ms. Jokubaviciute made her Chicago Symphony debut at the Ravinia Festival in June 2005. She has been heard on National Public Radio's "Performance Today," at Carnegie's Weill Hall, and at the Metropolitan Museum of Art in New York City, and has toured with Musicians from Marlboro. Solo recitals have included performances in Vilnius (Lithuania), Boston, the Smithsonian Institution's Freer Gallery in Washington D.C., and the Dame Myra Hess Concert Series in Chicago. Much sought as a chamber musician and collaborator, she appears regularly at major international music festivals on both sides of the Atlantic. She is also a collaborative pianist at the Steans Institute for Young Artists at the Ravinia Festival and is on the piano faculty of the Bard College Conservatory of Music Prepara- tory Division. Ms. Jokubaviciute holds degrees from the Curtis Institute of Music and from Mannes College of Music. Her principal teachers have been Seymour Lipkin and Richard Goode. Since participating in the New England Conservatory's Professional Piano Trio Training Workshop in 2006-07, her piano trio—Trio Cavatina with Harumi Rhodes and Priscilla Lee—made its New York City debut in concerts at the New School and at Merkin Hall, and its Boston debut at Jordan Hall, followed in 2008 by the ensemble's European debut with a concert tour of Lithuania. Trio Cavatina won the 2009 Naumburg Chamber Music Competition and made its Carnegie Hall debut in May 2010. TANGLEWOOD WEEK 6 PRELUDE PROGRAM NOTES ( 7 Lincoln Center presents Mostly Mo Jane Moss Louis Langree August 2-27, 2011 Ehrenkranz Artistic Director Renee and Robert Belter Music Director Louis Langree and the Mostly Mozart Festival Orchf Celebrate the brilliance and inspiration of Moza with the Mostly Mozart Festival Orchestra The Mostly Mozart Festival Tuesday and Wednesday, Friday and Saturday, Tuesday and Wednesda is made possible by: August 2-3 at 8:00 August 12-13 at 8:00 August 23-24 at 8:00 Rita E. and Gustave M. Hauser The Shubert Foundation Louis Langree, conductor Louis Langree, conductor Jeremie Rhorer, Voxel dot Net Christian Tetzlaff, violin Jeremy Denk, piano conductor (New York debut Ann and Gordon Getty Foundation M|M Trust for Mutual Understanding Antoine Tamestit, viola Christine Brewer, soprano Bertrand Chamayou, Friends of Mostly Mozart Susanna Phillips, soprano ALL-BEETHOVEN PROGRAM piano (U.S. debut) Works by HAYDN and MOZAI Public support for Mostly Mozart ALL-MOZART PROGRAM provided by: Tuesday and Wednesday, New York State Council on the Arts Friday and Saturday, August 16-17 at 8:00 Friday and Saturday, August 5-6 at 8:00 Jonathan Nott, August 26-27 at 8:00 mIm Official Sponsors Pablo Heras-Casado, conductor Louis Langree, conductc m|m MOVADO conductor Juho Pohjonen, piano Julia Lezhneva, soprano Official Sponsor of Lincoln Center, i Joshua Bell, violin Works by STRAVINSKY, (U.S. debut) UNITED^ Works by BACH, BRUCH, MOZART, and BEETHOVEN Kelley O'Connor, Otlt'.i.it An Imp of Lincoln Center, ln> and MOZART mezzo-soprano M|M *' " First Republic] Bank Sposnored by Voxel dot Net. Friday and Saturday, Joseph Kaiser, tenor OfficialOlticial SponsaSponsor of the Fashion Lincoi Online ExperienceExperier August 19-20 at 8:00 Morris Robinson, bass Tuesday and Wednesday, MetLife Louis Langree, conductor Concert Chorale of National Sponsor of Lincoln Center, Inc. August 9-10 at 8:00 mIm Nelson Freire, piano New York Ivan Fischer, conductor Celebrate Summer at Lincoln Center Works by STRAVINSKY and James Bagwell, director' Lucy Crowe, soprano M|M ® pepsi. BEETHOVEN Works by STRAVINSKY, Concert Chorale of SCHUBERT, and MOZART THE WALL STREET JOURNAL. New York director Artist Hospitality Partner James Bagwell, All concerts in Avery Fisher He- ALL-MOZART PROGRAM Tickets start at *$35 * M|M 0/ Mostly Mozart debut BUY TODAY AND SAVE UP TO 30% Photo: JB Reed *Rules and restrictions apply. MostlyMozart.org 212.721.650i Alice Tully Hall or Avery Fisher Hall Box Office, Broadway at 65th Street, New York C 2011 Tanglewood Boston Symphony Orchestra 130th season, 2010-2011 Friday, August 12, 8:30pm RAFAEL FRUHBECK DE BURGOS conducting BIZET Orchestral excerpts from "Carmen" Les Toreadors Prelude and Aragonaise Les Dragons d'Alcala (Entr'acte Act II) Entr'acte (Act III) Danse boheme RODRIGO "Concierto de Aranjuez," for guitar and orchestra Allegro con spirito Adagio Allegro gentile PEPE ROMERO BOCCHERINI/BERIO Four original versions of Luigi Boccherini's "Ritirata notturna di Madrid," superimposed and transcribed for orchestra by Luciano Berio FALLA Interlude and First Dance from "La vida breve" GRANADOS Intermezzo from "Goyescas' GIMENEZ Intermezzo from "La boda de Luis Alonso' Please note that there will be no intermission in this concert. ^ Bank of America is proud to sponsor the 2011 Tanglewood season. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES ON THE PROGRAM This entertaining program led by the Spanish conductor Rafael Friihbeck de Burgos isn't quite all-Spanish, but every piece speaks of Spain and the phenomenal influence that country's music has had on the Western classical music tradition. Four of the greatest Spanish composers are represented: Joaquin Rodrigo, with his iconic Concierto de Aranjuez performed by guitarist Pepe Romero; Manuel de Falla, with selections from his opera La vida breve ("Brief life"); Enrique Granados with the intermezzo from his opera Goyescas, which as the title suggests was inspired by paintings by the composer's countryman Francisco Goya; and the somewhat lesser-known (outside of Spain) Geronimo Gimenez, a prolific zarzuela composer, whose La boda de Luis Alonso ("The wedding of Luis Alonso") was among his most popular works. Along with the four Spanish composers on this program are the French composer Georges Bizet—excerpts from his Seville-located opera Carmen—and the Italian Luigi Boccherini, who worked most of his life in Spain. The latter's short piece gets an assist in re-orchestration from the 20th-century Italian composer Luciano Berio. Georges Bizet (1838-1875) Orchestral excerpts from "Carmen First performance of the opera: March 3, 1875, Opera-Comique, Paris. First BSO perform- ances of orchestral excerpts from the opera: 1896-1897 tour, Emil Paur cond. Tanglewood performances of "Carmen " excerpts include Leonard Bernstein conducting the BSO in Act TV of the opera for Tanglewood on Parade on August 1, 1952, and again on August 11, 1965; the Habanera, sung by Jessye Norman with Seiji Ozawa and the Tanglewood Festival Chorus on August 19, 1989; the Toreador's Song, sung by Bryn Terfel and the TFC with Ozawa on August 8, 1998, and theDanse boheme, conducted by Patrick Summers on July 24, 2004. Most recent Tanglewood performance of orchestral excerpts from "Carmen": August 22, 2010, Giancarlo Guerrero cond. Two generations after the Italian Rossini's famous but not-all-that-Spanish The Barber of Seville, and three following Mozart's related The Marriage ofFigaro, the French com- poser Georges Bizet (1838-1875) wrote the quintessential operatic homage to Spain with his Carmen for the Paris Opera-Comique; it was first staged in March 1875. Only tepidly received at the start, Carmen has gone on to become one of the most familiar and beloved operas in the world. Bizet's use of Spanish elements in the music—such as in the very familiar habanera sung by the passionate and doomed heroine—immediately established for the opera-going public a defi- nite, earthy, Spanish-identifiable musical character matched with a clear and dramatic plot. This suite of pieces from Carmen includes most of the famous music from the opera. We begin with the opening Prelude, a cymbal-filled march followed by the Toreador's Song. The foreboding second number is the second part of the Prelude, including the "fate" motif foreshadowing the heroine's tragic death—an ending that made the opera very risky for its day, particularly since it was intended for the "family" venue of the Opera-Comique. This is followed by the bull- fighter's lively Aragonaise, or "dance of Aragon." "Dragons d'Alcala" is from the entr'acte preceding Act II and is based on Jose's offstage song from that act. The entr'acte preceding Act III begins with just flute and harp alone, and again several of the woodwinds take up the solo melody briefly. The atmosphere is an idyllic, pas- toral oasis preceding the smuggler's scene that begins Act III. The Danse boheme, with its paired flutes in thirds, begins Act II proper, with the Gypsy girls dancing in Lillas Pastia's tavern. 10 Joaquin Rodrigo (1901-1999) "Concierto de Aranjuez," for guitar and orchestra First performance: November 9, 1940, Orquesta Filarmonica de Barcelona, Cesar Mendoza Lasalle cond., Regino Sainz de la Maza, guitar. First BSO performance: November 30, 2006, Symphony Hall, Rafael Friihbeck de Burgos cond., Pepe Romero, guitar. This is the first Tanglewood performance of "Concierto de Aranjuez." The Concierto de Aranjuez is without a doubt the most famous of concertos for guitar and orchestra—notwithstanding guitar concertos by more famous composers, including Vivaldi and Paganini. Joaquin Rodrigo Vidre remains one of Spain's best- known composers in large part because of this piece. He was not himself a guitarist, but infused such a Spanish character into his folklike but sophisticated concerto that the piece is immediately identifiable with the country itself. Born in Sagunto, in Valencia, Rodrigo was almost completely blind by age four, following his contraction of diphtheria during an epidemic. (He was completely blind by the late 1940s.) He studied violin and piano and from his mid-teens took composition lessons. After he began to have some success as a composer locally, he was sent for further study to Paris, where he worked with Dukas at the Ecole Normale. Manuel de Falla befriended his younger compatriot, and Rodrigo also became friends with the guitarist Andres Segovia. With the escalation of the Spanish Civil War, Rodrigo spent the middle part of the 1930s mostly in France and Germany, with further study at the Paris Conservatoire and the Sorbonne. It was during this time that the guitarist Regino Sainz de la Maza requested the piece that was to become Concierto de Aranjuez, which Rodrigo wrote in 1938-39; in the middle of the task, he returned to Madrid for good, remaining there the rest of his long life. International success came hard on the heels of the concerto's premiere in November 1940 in Barcelona, followed by performanc- es in Madrid and Bilbao. So it was that Rodrigo became the most famous living Spanish composer, who with the death of Falla in 1946 became Spain's ascendant living master, with offers to lecture and present his music all over the world. In addition to Aranjuez, Rodrigo wrote several other concertos for solo and multiple guitars, including the famous Fantasia para un gentilhombre (1954) for Segovia, inspired by music of the great 17th-century Spanish composer Gaspar Sanz. Tonight's soloist, Pepe Romero, was a member of the family guitar quartet Los Romeros, for whom Rodrigo wrote his Concierto andaluz (named for the family's home region) in 1966, and was also the beneficiary of the composer's last concerto, Concierto para una fiesta (1982). The three-movement, fast-slow-fast form of Concierto de Aranjuez is borrowed from Baroque and Classical models, and its orchestra is similar to Beethoven's concerto orchestra (but without timpani) . The concerto begins with solo guitar, establishing with strummed chords the energetic 6/8-versus-3/4 metrical alternation so charac- teristic of flamenco music. The home key is D, calling for a retuning of the lowest string of the guitar from its usual E to the D a step lower. The music is high-spirited, and more about texture, rhythm, and ornament than long tunes. The opposite is true of the middle movement, Adagio, the most familiar of the concerto's three parts. Its passionate, well-ornamented melody—revisited by Miles Davis and Gil Evans in Sketches of Spain—is, for many of its hearers, the quintessential Spanish melody of longing. This movement is interrupted by a long, notated solo cadenza. The Allegro gentile finale is an elegant cousin to the opening movement. Alternat- ing with the orchestra, the soloist shows off the wide-ranging textural capabilities of TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES 11 im Sold for $7,658,000 Consignments of Asian Art now invited A Bonhams Asian Art specialist will be in Massachusetts to offer complimentary auction estimates with a view to selling at auctions in New York, San Francisco and Hong Kong. Inquiries and appointments Amy Corcoran +1 617 742 0909 [email protected] A Chinese blue and white porcelain dragon jar bonhams.com/boston © 201 1 Bonhams & Butterfields Auctioneers Corp. All rights reserved. MA Auctioneers License Nos. 2656, 2712 wned in He. t Car At Baystate, heart attack patients receive lifesaving angioplasty up to 25 minutes sooner than the national standard. In fact Baystate is in the top 10% of hospitals nationwide in this critical statistic. Baystate Ep Medical Center BAYSTATE REGIONAL HEART ATTACK PROGRAM baystatehealth.org/heart 12 the guitar in presenting many variants of the brief and straightforward single theme of the movement. Luigi Boccherini (1743-1805) "Ritirata notturna di Madrid," arranged and orchestrated by Luciano Berio (1925-2003) as "Quattro versioni originali della 'Ritirata notturna di Madrid'" The Boston Symphony Orchestra has performed this work on two previous occasions: subscrip- tion performances led by Dennis Russell Davies in February 1 981, and a Tanglewood perform- ance on August 22, 1982, with Luciano Berio conducting. Born in Lucca, Italy, near Pisa, Luigi Boccherini was an outstanding cellist and com- poser of the early Classical era, a few years younger than Franz Joseph Haydn. His formal and textural innovations were significant in the development of the new style, in many ways matching Haydn's similar pursuits. He traveled extensively as a cellist from an early age, first with his father and later inde- pendently, and began composing his first significant works by his late teens. After some success in Paris during a trip with his friend Filippo Manfredi, at age twenty-five he settled in Spain, where he remained the rest of his life. A lucrative position in Aranjuez with Don Luis Antonio Jaime, the younger brother of King Carlos III, led to his becoming a very prolific composer, par- ticularly of the string quintets for which he is justifiably famous. After Don Luis's death, Boccherini became a member of Carlos Ill's Real Capilla (Royal Chapel) , and Prince Wilhelm, later King Wilhelm II, of Prussia became an impor- tant patron. Most of his works also went for publication in Paris. Boccherini's string quintet La musica notturna della strade di Madrid is an evocation of that city's nighttime street music. Written about 1780, it exists in several versions. The last movement is the "Ritirata" or "retreat," the musical signal for the late-night curfew. The great Italian composer Luciano Berio, who frequently used admired earlier music as the basis for his own, decided to superimpose the slightly different variants of Boccherini's piece, some of which have different, albeit subtle, harmonic details. Berio wrote: Ritirata notturna di Madrid for string quintet was such a popular piece in its time that Boccherini transcribed it four times for different instru- mental combinations. In 1975, when I was asked to provide a short concert opening piece for the Teatro alia Scala orchestra, I decided to superimpose those four versions of the Ritirata and to transcribe them for orchestra with minor adaptations, highlighting a few rich harmonic "clashes" towards the end of the piece. One of the clashes must be the sustained horn tone near the end, which seems to go on far longer than one would expect. Berio's setting is a Ravel's Zto/ero-like expansion of forces, with a constant snare-drum tattoo recalling the quasi-military origins of the "retreat." TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES 13 Manuel de Falla (1876-1946) Interlude and First Dance from La vida breve" First performance of the complete opera in finalform: (in French) April 1, 1913, Municipal Casino, Nice; (in Spanish) November 14, 1914, Madrid. First BSO performances of the complete opera in concert March/April 2002, Rafael Frixhbeck de Burgos cond. First Tanglewood performance of the opera: July 25, 2003, Rafael Friihbeck de Burgos cond. Manuel de Falla was arguably the greatest of Spanish composers, given his range of activity as a composer, his long life, and his influence on younger generations of artists. His position in Spain can be thought of as roughly parallel to that of, say, Sibelius out of Finland or Grieg in Norway, both composers who left their native countries to study elsewhere in Europe, but became the foremost practitioners of the national-flavored concert and stage music of their regions. Born in Cadiz, Falla studied at the conservatory in Madrid. By his late twenties he was writ- ing highly Spanish-inflected zarzuelas (a Spanish operetta) and was comfort- able using the folk idioms of Spain in his own music. He began on his opera La vida breve in response to a competition given by the Royal Academy of Arts, completed it in 1905, and took home the Academy's first prize. Soon thereafter, Falla moved to Paris to further his career, traveling there as an accompanist. His friend Joaquin Turina was already there. He stayed sev- eral years in France, and the country, as it would for his younger contem- porary Picasso, became a second home. During his time there he revised La vida breve, seeking its first performance. After it was finally staged in Nice in 1913 and revived the following year at the Opera-Comique, Falla's renown was assured. He moved back to Spain in the mid-teens but maintained strong ties to Paris. During these years he also composed his most famous concert work, Nights in the Garden of Spain, for piano and orchestra. Falla's Spanish-flavored stage works also included El amor brujo and El corregidory la molinera. The latter, based on the novel The Three-cornered Hat, was expanded into a full ballet by that title with choreography by Massine and design by Picasso for Diaghilev's Paris-based Ballets Russes, putting Falla squarely in the orbit of Ravel, Debussy, and Stravinsky. Gradually his musical sensibilities also came to incorporate elements of the then-prevalent style of neoclassicism, perhaps most clearly demon- Cool wind that wakes you from a lazy day, For rates and information The moon looking down on you, lighting your way. on advertising in the Boston A moment in time that you capture forever, A place in your heart it can leave never. Symphony, Boston Pops, The sun that warms you on a gentle afternoon, and Tanglewood program The walk you take when you whistle a tune. books, please contact Rain that drops on your eyelash by chance, It invites you to stay and enjoy a dance. A snowflake that falls and you catch on your tongue, Eric Lange Lange Media Sales | A butterfly landing on a branch from the tree it was hung. 781-642-0400 [email protected] The sound of your heart beat when it is strong and true, I Your first lass, feelings that overwhelm you. An ocean so mysterious to fill in a hole, A flame so intense it burns in your soul. When words escape how you're feeling inside, It must be love that you can no longer hide. 14 i strated by the chamber concerto for harpsichord (1926), written for Wanda Landow- ska. The big project of his later years, destined to remain unfinished, was the massive Catalan-language cantata Atldntida, an exploration of the discovery of the New World. Falla himself moved to the New World, to Buenos Aires, Argentina, in 1939, at odds with the newly established Fascist government in Spain following the coun- try's civil war. He lived there the rest of his life. The Interlude and Spanish Dance No. 1 from La vida breve mark the piece out as a pre-neoclassical work, lush in orchestration and Romantic in the use of chromatic melodies and harmonies, particularly in the Interlude. The Spanish dance, complete with castanets, is a whirling romp. Enrique Granados (1867-1916) Intermezzo from "Goyescas" First performance of the opera (on a double bill with Leoncavallo's "I pagliacci"): January 28, 1916, Metropolitan Opera, New York, Gaetano Bavagnoli cond. The BSO has only performed one excerpt from the opera, the aria "Quejas, o La maja y el ruisenor" ("Laments, or the lady and the nightingale"), sung by Kathleen Battle with Seiji Ozawa conducting at Tanglewood on July 7, 1995. This is the first BSO performance of the Intermezzo. Enrique Granados was born in Lerida but grew up in Barcelona, where he lived most of his life. He studied piano with a teacher of Albeniz and Vines, Joan Pujol, and went on to attend the Paris Conservatoire. Following his return to Barcelona he began to be known as a brilliant pianist, and started to include his own pieces on his recitals. Like Albeniz, he incorporated Spanish folk music and stylistic ideas into most of his pieces, beginning with his Spanish Dances for piano, comparable conceptually to Dvorak's Slavonic Dances. In 1898 he had a hit with his first opera, Maria del Carmen, in Madrid. He founded his own music school, the Academia Granados, and gained influence in the first decade of the twentieth century. Goyescas, a piano suite he began in 1909 comparable to Albeniz 's Iberia, con- tains the composer's most familiar music. Granados based these musical pic- tures on paintings by Francisco Goya, the great 18th-century Spanish painter. The piece was immediately successful upon its premiere. Given its evocation of the city life of Madrid through association with Goya's paintings, the American pianist Ernest Schelling suggested to Granados an opera based on the suite. The result was a Puccini- or Mascagni-influenced verismo work, originally scheduled for the Paris stage but, due to the onset of World War I, ultimately premiered, as the company's first Spanish-language opera, at the Metropolitan Opera in New York. Returning to Spain from his trip to the premiere, he was crossing the English channel on the 55 Sussex when the boat was torpedoed. He drowned attempting to save his struggling wife. The plot of Goyescas centers on a bullfighter whose desire for a noblewoman leads to the death, in a duel, of her fiance. Granados wrote the famous Intermezzo, an atmospheric piece of strong Spanish character, overnight during rehearsals for the premiere when it was discovered more time was needed for the scene change between the first and second tableaux. TANGLEWOOD WEEK 6 FRIDAY PROGRAM NOTES 15 UnMMMMisk&cL z&stfor Ufes! A diverse and appealing retirement living community, just minutes from Oberlin College and its Conservatory of Music. Feel secure with our coordinated system of residential and health care options. KENDAL® atobertuv Together, transforming the experience of aging. NEW! Follow us at Facebook.com/KendalatOberlin Visit our blog: www.kendalatoberlin.net Oberlin, Ohio • 1 -800-548-9469 • www.kao.kendal.org SEPTEMBER 4 SUN 2PM Coast to Coast Septet featuring NEA Jazz Master Jimmy Cobb with vocalist Mary Stallings jimmy Cobb The Mingus Orchestra conducted by NEA Jazz Master Gunther Schuller 8pm Sing the Truth: Celebrating SEP? 2-4 12011 At the History of Women Vocalists at TANGLEWOOD -^FESTIVAL Tanglewood with Angelique Kidjo, Dianne Reeves, and Lizz Wright Dianne Reeves Cafe on Main TICKETS $19-77 • ONE DAY LAWN PASS $34 Robin McKelle Quartet 888-266-1200 • tanglewood.org Michael Kaeshammer Robin McKelle TANGLEWOOD JAZZ CAFE Quintet Jazz Cafe artists include Cedric Henriot, Rebecca Martin, Sarah Manning and Ulysses Owens, Jr. Writer Bob SEPTEMBER 3 SAT Blumenthal will interview percussionist John Santos and 2pm Live taping of Judy Carmichael's NEA Jazz Masters Jimmy Cobb and Gunther Schuller and "Jazz Inspired" with host Judy conduct a session on jazz vocalists titled "Listen Here." Carmichael and actress Blythe Danner All are free with a ticket to the main stage event. and and special guests from the worlds h NEA Jazz Masters Live is a program of the National of Jazz, Broadway or Hollywood Endowment for the Arts in partnership with Arts Midwest, that celebrates the living legends who have made 8pm A Latin Jazz Tribute to Cachao with exceptional contributions to the advancement of jazz. Federico Britos Sextet and John Santos Sextet as featured in the "American TANGLEWOOD WINE & FOOD CLASSIC Masters"/ PBS documentary SEPTEMBER 1-4 John Santos "Cachao: Uno Mas" For details, visit tanglewood.org. 16 Geronimo Gimenez (1854-1923) Intermezzo from "La boda de Luis Alonso" ("The Wedding of Luis Alonso") This is the first BSO performance of any music by Gimenez. The precocious Geronimo Gimenez was born and raised in Seville, where he studied violin and began playing in the Teatro Principal orchestra at age twelve. By age sev- enteen he was director of the Seville Opera. He attended the Paris Conservatoire and returned to Spain, where he became director of Madrid's Teatro Apolo and the Teatro de la Zarzuela. The genre of the zarzuela, a folk-music-influ- enced, usually lighter (in musical content if not in plot) stage work with spo- ken dialogue, was extremely popular in Spain in the late 1800s and into the first part of the 1900s. Many Spanish composers made their names in this essentially local genre, which can only glancingly be compared to German and English operetta. As a composer, although he wrote a couple of symphonies and a very few other works, Gimenez was a zarzuelist primarily, concentrating on the brisk one-act species of the genre. He wrote literally scores of zarzuelas, most of which were first and last produced in Madrid. La boda de Luis Alonso, one of his most popular works, dates from 1898 and followed on the great success of another piece with the same characters, El baile de Luis Alonso ("The dance of Luis Alonso"), both based on a text by Javier de Burgos. The Intermezzo is a rollicking affair much in the vein of the Falla Spanish Dance from La vida breve—complete with castanets. Notes by ROBERT KIRZINGER Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. Guest Artists Rafael Fruhbeck de Burgos A regular guest with North America's notable orchestras, Rafael Fruhbeck de Burgos conducts the major ensembles of Boston, Philadelphia, Los Angeles, Pittsburgh, St. Louis, Montreal, Cincinnati, and Houston in the 2010-11 season, and returns to the New York Philharmonic for the third time since 2005. He appears annually at Tanglewood and regularly with the National Symphony, Chicago Symphony, and Toronto Symphony orchestras. Born in Burgos, Spain, in 1933, Rafael Fruhbeck de Burgos studied violin, piano, music theory, and composition at the conserva- tories in Bilbao and Madrid, and conducting at Munich's Hochschule fur Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the 2012-13 season he will assume his post as chief conductor of the Danish National Orchestra. He has made extensive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra, and he has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, TANGLEWOOD WEEK 6 GUEST ARTISTS 17 the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain's most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Friihbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. He has recorded extensively for EMI, Decca, Deutsche Grammo- phon, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn's Elijah and St. Paul, Mozart's Requiem, Orff's Carmina burana, Bizet's Carmen, and the complete works of Manual de Falla. Rafael Friihbeck de Burgos made his Boston Symphony debut in January 1971. Since an August 2000 appearance at Tanglewood, he has been a frequent guest leading the BSO in a wide range of repertoire both at I Symphony Hall and at Tanglewood, where he also conducts the Tanglewood Music Center Orchestra. In the 2010-11 subscription season, his performances with the BSO included music of Falla, Brahms, Reger, Liszt, and Ravel. In addition to his two concerts this weekend—the second being this Sunday afternoon's annual Leonard Bernstein Memorial Concert featuring the Tanglewood Music Center Orchestra—his Tanglewood appearances this summer have included the gala Tanglewood on Parade concert on August 2 and a BSO program of music by Beethoven, Rachmaninoff, and Strauss last Friday night. barringtonstageco Sponsored by k Legacy Banks Guys and Dolls sponsored in part by Cranwell Resort, Spa, and Golf Club. The Perfect Musical Comedy JUIWL5 - JULY 16 Book by Jo ^N&ng and Abe Burrows Music & Lyrics rjf9huik Loesser Based on The IdylrwMyih Brown and characters by H Choreography by JoshuL Directed by John Rando WORLD PREMIERE! SMITH COLLEGE Sponsored by Sydelle and Lee Blatt The Best of Enemies MUS UM A friendship that defied all odds. Mh JULY 21 - AUGUST^ ART By Mark St. Germain Inspired by The Best of Enemies by Osha Gray Davidson Directed by Julianne Boyd /' This project is made possible in part grant from the Pittsfield Cultural r «' www.smith.edu/artmuseum Northampton, Massachusetts The Gam Seduction. Betrayal. R FREE ADMISSION FOR ONE AUGUST 11-28 June 1 -August 31 , 201 1 when you mention Book and Lyrics by Amy Powers & ad code TW1 1 . Not redeemable for cash. Music by Megan Cavallari 413-236-8888 Box Office museums@ "^Museums W^jKm: Ktff&QW* barringtonstageco.org INSPIRATION EVERYWHERE Just 15 minutes from Tanglewood! VISIT OUR WEBSITE FOR COMPLETE SEASON SCHEDULE 18 I Pepe Romero Guitarist Pepe Romero is constantly in demand for solo recitals, concerts with orches- tras, and performances with the renowned Romeros Quartet. Born in 1944 in Malaga, Spain, Pepe Romero is the second son in "The Royal Family of the Guitar," the Romeros. His father, the legendary Celedonio Romero, was his only guitar teacher; his first professional appearance was at age seven in a concert with his father. After relocating to the United States, Pepe, together with his father and brothers, helped establish the Romeros Quartet as the world's leading guitar ensemble. Although best known for his classical performances, Pepe also per- forms the traditional flamenco of his native Andalucia. He has made more than sixty recordings (twenty of which are concerto recordings with the Academy of St. Martin in the Fields, under both Neville Marriner and Iona Brown) and appeared in the award-winning film documentary "Shadows and Light: Joaquin Rodrigo at 90." Recent releases include Boccherini quintets for guitar and string quar- tet, recorded for UNICEF; the world premiere recording ofJorge Morel's Al Maestro; recital CDs entitled "Corazon Espahol" and "Classic Romero"; and song cycles by Lorenzo Palomo with soprano Maria Bayo. Mr. Romero's artistry has inspired such composers as Joaquin Rodrigo, Federico Moreno Torroba, Lorenzo Palomo, Rev. Francisco de Madina, Celedonio Romero, Paul Chihara, Enrique Diemecke, and Ernesto Cordero to write works specifically for him. Andres Segovia and Federico Moreno Torroba chose Pepe to record the world premiere of Didlogos entre guitarra y orquestra, originally written for Segovia. Following the death of his father, Pepe pre- miered his father's concerto for guitar and orchestra, El Cortijo de Don Sancho. Pepe Romero has also premiered major works by Fernando Sor, Mauro Giuliani, Francesco Molino, Ferdinando Carulli, Johann Kaspar Mertz, and Luigi Boccherini. He has been a featured soloist with notable orchestras in the United States, Europe, Asia, and South America, and has performed at music festivals worldwide. As a member of the Romeros, he has performed at the White House, at the Vatican, and for members of royalty. He has been Professor of Guitar at several universities and frequently teaches master class- es at the Salzburg Summer Academy, the Schleswig-Holstein Festival, and the Cordoba Guitar Festival. In 2004 he was invited to be Distinguished Artist in Residence at the University of Southern California's Thornton School of Music. He holds an honorary doctorate in music from the University of Victoria, British Columbia. He received Spain's "Premio Andalucia de Musica," and His Majesty, King Juan Carlos I of Spain, has knighted Pepe Romero and his brothers Celin and Angel into the Order of Isabel la Catolica. The Romero family has been the subject of the PBS documentary "Los Romeros: Royal Family of the Guitar," and a German documentary, "Los Romeros, the Dynasty of the Guitar." In 2007 the Romeros received the President's Merit Award from the Recording Academy, producers of the Grammy Award. Making his Tanglewood debut in this concert, Pepe Romero previously appeared with the Boston Symphony Orchestra in November/December 2006, making his BSO debut as soloist in Palomo's Nocturnos de Andalucia and Rodrigo's Concierto de Aranjuez also with Rafael Friihbeck de Burgos conducting. TANGLEWOOD WEEK 6 GUEST ARTISTS 19 The Caroline and James Taylor Concert Dedicated to Norio Ohga in Memory of his Generosity to Tanglewood and his Passion for Music Saturday, August 13, 2011 The performance on Saturday evening is supported by a generous gift from BSO Trustee Caroline "Kim" Taylor and her husband, James Taylor. The Taylors have chosen to dedicate this performance in memory of their friend, the late Norio Ohga, former President, Chairman, and CEO of Sony Corporation. A BSO Great Benefactor and former Overseer, Mr. Ohga was a classically trained musician who studied both in Tokyo and Berlin, and whose technical expertise, great vision, and foresight shaped Sony into a global entertainment leader. In 1993, as the largest single donor to the campaign for the new concert hall at Tanglewood, Mr. Ohga generously chose to name the new venue Seiji Ozawa Hall, honoring his friend and fellow countryman's BSO achievements and contribution to the world of music. As Great Benefactors, the Taylors have given generously to the Tanglewood and Symphony Annual Funds, Opening Nights, and capital projects on the Tanglewood campus. They have also endowed a full fellowship for a cello student at the Tangle- wood Music Center. As members of the Koussevitzky Society at the Appassionato level, Kim and James are among the most generous contributors to the Tanglewood Annual Fund. Kim was a member of the BSO staff for more than twenty years, serving most recent- ly as senior advisor to Managing Director Mark Volpe. During her career at the BSO, Kim also worked closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. Kim was elected to the BSO Board of Overseers in September 2007, and she became a Trustee in September 2009. This past spring, she and James produced four concerts at Carnegie Hall as part of that institution's "Perspectives" series. She and their twin boys, Henry and Rufus, performed in last December's Berkshire Theatre Festival production of A Christmas Carol. In a career marked by artistic triumphs, this past year for James Taylor has been notable for both creative virtuosity and recognition of exceptional achievement. In March 2011 he was awarded the National Medal of Arts by President Barack Obama in a ceremony at the White House. The medal is the nation's highest honor for artistic excellence recognizing "outstanding achievements and support of the arts." Three months after the National Medal of Arts ceremony, Taylor returned to the White House to perform for President Obama and German Chancellor Angela Merkel at a state dinner held in the Rose Garden. 20 Norio Ohga: A Remembrance by Caroline Taylor In 1993, all of us at the BSO watched the newest addition to the Tanglewood land- scape come alive. It was a beautiful and elegant and practical design. Boston archi- tect Bill Rawn had managed to combine Vienna's Musikverein and a Yankee barn. There it stood, in a field beyond the Koussevitzky Music Shed, looking somehow raw and yet perfectly at home. We all wondered what it would be called. It was decided that the privilege of naming it would go to a donor who contributed $1 million. That was Norio Ohga, then President and Chief Executive Officer of Sony Corporation, who doubled our expec- tations with a $1.25 million personal gift from himself and his wife Midori, plus a $750,000 campaign contribution from Sony Corporation. All of us at the BSO were delighted to have the naming gift in place, securing the completion of this project. We assumed it would be called "Ohga Hall." We even started to incorporate that name on draft press releases and announcements. Then, one morning in early spring of that year, my phone rang. It was Seiji. "Guess what!" he exclaimed. "Ohga-san came to my concert last night in Tokyo and he wants to name hall for me!" "That's great," I answered. "So it will be called 'Seiji Ozawa Hall'?" "Hmm. I guess so," Seiji laughed. Caroline Taylor with Norio Ohga and his wife Midori "Wow! Usually in Japan to have at Seiji Ozawa Hall during the inaugural ceremonies something named like this, you in July 1994 (photo: Sony Corporation) must be dead." And so it began. It was a remarkable gesture of huge generosity and kindness by a man halfway around the world whom none of us really knew. But that happily would change. The first time Mr. Ohga came to Tanglewood, he arrived by helicopter. The Tangle- wood grounds crew spread a sheet on the lawn, marking the spot of the landing. While we waited to greet him in typical Tanglewood attire (sandals and LL Bean), Mr. Ohga emerged in an impeccable navy suit and white shirt with French cuffs for the walk through the high grass and dirt to the site. There followed, months later, a meeting to review designs for the cornerstone that would bear the name of the hall and Mr. Ohga's beneath it. The design for the engraved plaque was rendered in a straightforward typeface with a small abstract embellishment bracketing it. Mr. Ohga smiled politely, then asked his associates, in Japanese, a question. There seemed to be some consternation. It was then explained that the decorative element surrounding the type was the Japanese character for rice paddy. It was in turn explained TANGLEWOOD WEEK 6 NORIO OHGA! A REMEMBRANCE 21 that none of us had been aware of that and it was a coincidence. It was changed. I was also lucky to get to know Mr. Ohga through a favorite "hobby" of his. Supremely successful as President and eventually Chairman of one of the largest and most cre- ative companies in the world, he still hankered to return to his roots. But this time, he wanted to conduct. I was asked to fly to Japan to meet with him to discuss his impending debut with the Metropolitan Opera Orchestra and to help arrange some publicity. I was ushered into his office at Sony Headquarters in Tokyo and was surprised to see him wearing what looked like a dentist's smock. I learned this was the uniform that most Sony employees donned while at work. He was gracious and warm with a commanding voice. He explained he started his career as a baritone. He had written a letter to then Chairman of Sony, Akio Morita, daring to complain about the inferior quality of one of the first post-War tape recorders that the fledgling company had made. Mr. Morita eventually persuaded him to join the mother ship of Sony and to relinquish his "night job" of singing opera. I said that I understood, since I had started out as a writer until I met Peter Gelb and the same thing happened to me. Working for Mr. Ohga was always a thrill. For one thing, transportation was unique: Sony at the time had. a handsome fleet of Falcon jets. Mr. Ohga was an accomplished! pilot and would sometimes take into the cockpit. He had that ability to inspire confi- dence, even for a fearful flyer like me, huddled under my Sony cashmere blanket in the jump seat. Prior to his debut at the Met, he came to the United States for a series of interviews, including one with the New York Times. After introductions were made, one of their senior critics tried to turn his tape recorder on and it wouldn't work. After what he truth.' 'Someday you are going to visit MASS MoCA. is summer Until then, you might be tempted to fib, letting on that you've been there already 87 MARSHALL STREET It's a great philosophical site, and it's fun. NORTH ADAMS, MASS GO, by all means." —The New Yorker 4136622111 massmoca.org 22 • seemed like an eternity, Mr. Ohga ordered "Give me that, He fiddled with it and fixed it. For the record, it was a Panasonic. As time went on, Mr. Ohga conducted more and more around the world. He took it seriously, studied hard, and clearly loved the chance to stand in front of an orches- tra. He seemed elated, almost giddy with excitement after a performance. And in his immaculate white tie and tails, he looked the part of a Maestro. While I never knew him in his "other" life as head of a multi- national corporation, the person I knew defied the stereotype of a shrewd, tough businessman. He had a childlike quality as he approached music, awed by the beauty of a Schubert sonata or a Beethoven symphony, humbled by the mystery and power of that realm. He was a powerful man who realized that with power came Yo-Yo Ma, Seiji Ozawa, and Norio Ohga meet the press during responsibility. His passionate con- the Seiji Ozawa Hall inaugural ceremonies in 1994 July nection to music was a lifelong (photo: Sony Corporation) commitment. Besides his naming gift of Seiji Ozawa Hall, he made countless significant contributions to other institu- tions including the Eastman School of Music, the Metropolitan Opera, the Berlin Philharmonic. He also built his beloved concert hall in the lovely community of Karuizawa. It seemed to me that he gracefully and thoughtfully turned over the reins of power when the time was right. And he lived all of this with his beloved Midori, wife of fifty-four years, at his side. The last time I saw him was at Carnegie Hall. I was married and a mother at that point, and it had been a long time since we had seen each other. It was at a rehearsal for a Rain Forest benefit organized by Sting. My husband, James Taylor, was part of it. I introduced him to Mr. Ohga for the first time and they exchanged pleasantries. Mr. Ohga sat in the audience for a bit, listening to what was unfolding onstage. I can't remember if it was Sting, Elton John, or my husband, but Mr. Ohga listened with a somewhat bemused, and yes, enigmatic expression. "Do you like it?" I asked. "Well, Kim-san, it's music." ..Jr a PI "- o . 1 -, a *"•*$! ***** 3 • f* ^ jtftf.^ii GO •m-m^mim SB- *£mmJ&J j~ ^- ' " gggg^ T !«((»»' 1 - " "• TBflBi — -r*^mmr"^\^^J .,mmf*" 1 ^ 1-~'T„ •«tm6Z . ^^^ *W TANGLEWOOD WEEK 6 NORIO OHGA! A REMEMBRANCE 23 Shakespeare &Company 201 1 SUMMER SEASON FOUNDERS' THEATRE AS YOU LIKE IT JUNE 24-SEPTEMBER 4 ROMEO AND JULIET JULY 8-SEPTEMBER 3 A THE HOUND OF IE BASKERVILLES l-SEPTEMBER 4 >.EIN THEATRE 'OMEN OF WILL, JRNEY: PARTS l-V Y 27-JULY 10 HE MEMORY OF WATER SUNE 16-SEPTEMBER 4 -0 GENTLEMEN OF VERONA JULY 6-SEPTEMBER 3 1 THE HOLLOW CROWN JULY 12-24 !D HOT PATRIOT: .iSS WIT OF MOLLY IVINS IGUST 3-SEPTEMBER 4 OSE FOOTPRINT THEATRE THE VENETIAN TWINS JUNE 29-AUGUST 27 impressive summer drama EVERYMAN ACTOR festival in America." AUGUST 1 l-SEPTEMBER 4 'ALL STREET JOURN, JUST 5 MINUTES FROM YOUR SEAT!\ 70 Kemble Street, Lenox, MA • For tickets visit! Shakespeare.org or 413-637-33531 2011 Tanglewood Boston Symphony Orchestra 130th season, 2010-2011 Saturday, August 13, 8:30pm THE CAROLINE AND JAMES TAYLOR CONCERT DEDICATED TO NORIO OHGA IN MEMORY OF HIS GENEROSITY TO TANGLEWOOD AND HIS PASSION FOR MUSIC CHRISTOPH VON DOHNANYI conducting PROKOFIEV Symphony No. 1 in D, Opus 25, "Classical Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace SCHUMANN Cello Concerto in A minor, Opus 129 Nicht zu schnell [Not too fast] Langsam [Slow] Sehr lebhaft [Very lively] YO-YO MA {Intermission} BRAHMS Symphony No. 1 in C minor, Opus 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Piu Andante—Allegro non troppo ma con brio—Piu Allegro Bank of America is proud to sponsor the 2011 Tanglewood season. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. TANGLEWOOD WEEK 6 SATURDAY PROGRAM 25 Leon Fleisher Pamela Frank Anthony i James Morris Faculty Faculty Faculty '68 Me What do these distinguished Tanglewood artists have in common? Peabody! Find out more about where outstanding music lives the other ten months of the year. Download the Peabody iPhone app (app.peabody.jhu.edu for other mobile devices) the PEAB0t)yt:ONSERfOTOlY www.peabody.jhu.edu OF THE JOHNS HOPKINS UNIVERSITY 1 East Mount Vernon Place, Baltimore, MD Speak with our Wedding Specialist 30 Main Street, Stockbridge, MA HP T T (413)298-1604 |J JLHE J\ED JjKN INN KedUonlnn.com/weddmgs 26 " NOTES ON THE PROGRAM Sergei Prokofiev (1891-1953) Symphony No. 1 in D, Opus 25 ("Classical Symphony") First performance: April 21, 1918, Petrograd, Prokofiev cond. First BSO performance: January 28, 1927, Serge Koussevitzky cond. First Tanglewood performance: August 17, 1940, Koussevitzky cond. Most recent Tanglewood performance: August 8, 2009, Rafael Friihbeck de Burgos cond. This symphony is officially Prokofiev's Symphony No. 1 in D major, but the nickname " Classical' has taken hold so thoroughly that it is virtually never identified in the more formal way. Actually, it is not the first symphony Prokofiev ever composed; even before entering the St. Petersburg Conservatory he had had formal training from Reinhold Gliere, a recent graduate in composition, on the advice of Taneyev, to whom the young Prokofiev had taken his earliest compositions when he was eleven years old. Gliere had spent the summer of 1902 at the Prokofiev family home in Sontzovka and had led the boy (at his own insis- tence) through the stages of composing a symphony in G major. He entered the Conservatory two years later, his parents having been persuaded by the director Glazunov that his talent demanded that he be given the opportuni- ty. He made his best marks at the Conservatory as a pianist, but his interest in composing grew ever stronger. During the summer of 1908, Prokofiev and his fellow student Nikolai Miaskovsky undertook the challenge of writing a symphony apiece during their summer vacations; they wrote regularly to each other, sending the themes they were using and criticizing each other's work. At the end of the summer, they approached Glazunov in the hope that he would arrange orchestral readings of the two works. Prokofiev's symphony was in E minor and began with what Glazunov considered a "harsh" dissonance—a C major triad over an F-sharp in the bass; the director of the Conservatory was unable to get the boy, now a budding young composer of seventeen, to change the opening. "The C major with the F-sharp in the bass struck me as pleasantly dramatic and not at all 'harsh.' Prokofiev realized that Glazunov was beginning to be irritated with him for the "unseemly" music he was writing, but somehow a reading of the symphony was ar- ranged. It was rather a makeshift affair; the conductor didn't want to look at the score in advance, so he was sightreading the whole thing. The young composer noted that the performance was entirely devoid of any kind of subtlety or even accu- racy in the dynamics. But he had at least been able to hear his symphony: On my way home I asked myself: What was the result, for me, of hearing my symphony played? ... I realized that the symphony was not really badly orches- trated and I also realized that if it had been rehearsed with close attention and understanding, those places could have been made to sound perfectly all right. But how much more naive it was than Scriabin's Poem ofEcstasyl In a word, I returned home dissatisfied and not at all beaming with joy. I would have to write a new symphony. It took Prokofiev eight years to get around to writing another symphony—the first one whose paternity he would acknowledge publicly. Ironically, having compared his 1908 work with his modern idol Scriabin, Prokofiev chose to write the new sym- phony after a distinctly older model: Haydn. The germ of the idea for the new sym- phony had been planted at about the time Prokofiev composed the now forgotten E minor work, while he was studying conducting with Nikolai Tcherepnin: I liked very much going to Tcherepnin 's conducting class. Here it gradually TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 27 I MAUREEN O'FLYNN as you've never heard her before singing the very best off the American Songbook FOUR NIGHTS ONLY! Auiaist 28, 29, J©, & ihowtime: 9 PM ©©©r§ ©pep at s pm For more information go to: berksKirecabaret.com Mwi§§y Farm Rt. 7, Great Barrington, MA (Next to the Barrington Brewery) Steinway S Sons is honored to support the 2011 Tanglewood season, and to play our part in helping its gifted performers to attain an uncompromising level of musical inspiration. STEINWAY 6 SONS STEINWAY 8 SONS • ONE STEINWAY PLACE • LONG ISLAND CITY, NY 11105 • WWW.STEINWAY.COM 28 became clear that the practice of constantly studying scores and then working with the orchestra in preparing them for performance was not only useful in terms of conducting but a help to me in learning more about orchestration. As Tcherepnin and I were sitting side by side with the score in front of us at one of those endless lessons, rehearsing the student orchestra, he would say, 'Just listen to how marvelous the bassoon sounds right here!" And I gradually devel- oped a taste for the scores of Haydn and Mozart: a taste for the bassoon playing staccato and the flute playing two octaves higher than the bassoon, etc. It was because of this that I conceived or thought up the Classical Symphony, although that was five or six years later. Right here I should note that, although I didn't learn all that I should have about orchestration in Rimsky-Korsakov's class, I made up for it in Tcherepnin's class. The actual impetus to write the Classical Symphony came from Prokofiev's desire to compose an entire symphony without the use of a piano, which had been his con- stant aid in composition from his childhood improvisations to that time. It occurred to him that it might be easier to employ Haydn's style in that undertaking. And another thought intrigued him: if Haydn were alive at the time of his new composi- tion (1916), how would he blend his own musical style with the newer elements of later music? Prokofiev decided to answer the question for him. He began the symphony in the summer of 1916 with the Gavotte (the third move- ment) and wrote material for the other movements too. The following summer, near Petrograd, he discarded the original finale entirely and rewrote it, while polishing the rest of the work. "And when it began to hang together, I renamed it the Classical Symphony. First because that was simpler. Second, out of mischief. . . and in the secret hope that in the end I would be the winner if the symphony really did prove to be a classic." And so it has proved: no symphonic work of Prokofiev's is performed more frequently or received with greater delight. Its directness and wit, its brevity, and its fusion of Haydnesque clarity with Prokofiev's youthful grotesqueries have won cham- pions for the Classical Symphony both in Russia and in the West, when so much of Prokofiev's music is still evaluated according to the political stance of the critic. The opening coup d'archet and arpeggiation of the D major triad take us- back imme- diately to the world of the Viennese classics, as also the size of the orchestra and the way the various instruments are handled. But Prokofiev's sudden shift to C major only eleven measures into the piece tells us that the classical air is not simple imita- tion or pastiche, but a reworking of traditional musical gestures with witty modern twists. Still, the opening Allegro is in a straightforward sonata form, with a wonder- ful developmental climax in which the violins play the secondary theme metrically shifted by one beat. The Larghetto unfolds a simple rondo form, equally clear in its returns to the descending lyrical theme in the violins. The Gavotte is absolutely quintessential Prokofiev in its blend of innocent dance with delightful, unexpected twists of harmony. Prokofiev returned to this dance many years later and expanded it for use in his ballet score for Romeo and Juliet. The brilliant rushing finale, Molto vivace, maintains its high spirits without let-up from beginning to end, partly because Prokofiev tried, in writing this movement, to use nothing but major chords. This plan demands some lightning changes of key that would have surprised old Haydn, but they would no doubt have delighted him, too. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country. TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 29 Robert Schumann (1810-1856) Cello Concerto in A minor, Opus 129 First performance: June 9, 1860, Leipzig Conservatory, Ludwig Ebert, cello (a posthu- mous performance marking the composer's fiftieth birthday). First BSO performance: February 4, 1888, Wilhelm Gericke cond., Fritz Giese, cello. First Tanglewood perform- ance: August 8, 1946, Serge Koussevitzky cond., Gregor Piatigorsky, cello. Most recent Tanglewood performance: August 24, 2002, Sir Neville Marriner cond., Claudio Bohorquez, cello. On September 1, 1850, the Schumanns—Robert, Clara, and six children—moved to Diisseldorf after six stultifying years in Dresden, a city of which Clara said, "every- thing seems so antiquated here. Not a single intelligent person can be seen on the street; they all look like Philistines! Musicians one doesn't see at all." An offer had come along for Robert to succeed Ferdinand Hiller as conductor of the Diisseldorf Music Society. Diisseldorf had a reputation as a conductor- eating town (Why was Hiller so eager to move on to Cologne?), but Schumann badly wanted an orchestra of his own; he was not only bored in Dresden, but angry because the opera there had declined to stage his Genoveva; and he was willing to give Diisseldorf a try. By the time Schumann arrived in his new Rhineland home, he was in high spirits, and he and Clara were welcomed by a serenade and a combined con- cert, supper, and ball, tendered by the local musicians. Clara worried about social standards in Diisseldorf, especially "the breezy, unconstrained conduct of the women, who at times surely transgress the barriers of femininity and decency Marital life is more in the easygoing French style." Both Robert and Clara were dis- tressed by the noisiness of their first apartment, but a Rhine excursion at the end of the month and a move to quieter quarters helped. (All Clara could do about the Diisseldorf ladies was to avoid them.) But contentment in Diisseldorf was destined to be brief. Unequal to the requirements of the position, Schumann was asked to resign in October 1852. The matter was smoothed over for the moment, but not quite a year later he had, in fact, led his last concert. Four months after that, having thrown himself into the Rhine in a suicide attempt, he was committed into Dr. Richarz's hospital at Endenich, where he died two-and-a-half years later. But all that is another story. The Diisseldorf episode began with Schumann in a state of enormous creative energy. He composed his Cello Concerto in just fifteen October days, and in what remained of 1850 and in 1851 he wrote the Rhenish Symphony, revised his D minor symphony into what he considered its definitive form (Symphony No. 4), and wrote two violin sonatas, the Marchenbilder for viola and piano, two substantial cantatas, and a number of overtures on literary themes. Clara Schumann was delighted by the new concerto. "It pleases me very much and seems to me to be written in true violoncello style," she noted in her diary on November 16, 1850. The following October she wrote: "I have played Robert's Violoncello Concerto through again, thus giving myself a truly musical and happy hour. The romantic quality, the vivacity, the freshness and humor, also the highly interesting interweaving of violoncello and orchestra are indeed wholly ravishing, and what euphony and deep feeling one finds in all the melodic passages!" Robert seems to have had reservations, but we know only that he cancelled plans for a per- formance in the spring of 1852 and that he did not send it to Breitkopf 8c Hartel, the Leipzig publishers, until 1854. In this concerto we glimpse the experimental side of Schumann's temperament. He 30 i is interested here in compression and in finding new ways to connect the parts of a multi-movement composition. Both the initial chords for woodwinds with pizzicato strings and the wonderful cello melody to which they open the door have more than local functions. The idea of the chords pervades the slow movement, and the cello theme turns into a recitative—shared fascinatingly and poignantly by soloist and orchestra—that forms the bridge from the second movement to the finale. Each movement is linked to the next, and the middle one, though it sets out in gloriously expansive song, has something of the character of a bridge or an intermezzo. The device of using a solo cello in the orchestra is one that Robert borrowed from Clara's piano concerto of 1836, in whose orchestration he may, however, have had a hand. The shift into 6/8 time for the last pages of the finale is a device that Brahms obviously found worth imitating, andoften. Just before that happens in this concer- to, Schumann introduces a brief accompanied cadenza, an inspiration to Elgar and probably also to Schoenberg and Walton in their violin concertos. MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra. Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Opus 68 First performance: November 4, 1876, Karlsruhe, Otto Dessoff cond. First BSO perform- ance: December 10, 1881, Georg Henschel cond. First Tanglewood performance: August 15, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: August 17, 2007, James Levine cond. When Brahms finished his First Symphony in September 1876, he was forty-three years old. (Beethoven was twenty-nine, Schubert fifteen, Schumann twenty-two, Mahler twenty-eight at the completion of their respective first symphonies; Mozart was nine, but that's another story altogether.) As late as 1873, the composer's publisher Simrock feared that a Brahms symphony would never happen ("Aren't you doing anything any more? Am I not to have a symphony from you in '73 either?" he wrote the composer on February 22), and Eduard Hanslick, in his review of the first Vienna performance, noted that "seldom, if ever, has the entire musical world awaited a composer's first symphony with such tense anticipation." Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony) , and that masterwork of orchestral know- how and control, the Variations on a Theme by Haydn. But a symphony was some- thing different and had to await the sorting out of Brahms's complicated emotional relationship with Robert and Clara Schumann (only after Robert's death in 1856 could Brahms finally begin to accept that his passion for the older Clara needed to remain unrequited), and, more important, of his strong feelings about following in Beethoven's footsteps. Beethoven's influence is certainly to be felt in Brahms's First Symphony: in its C minor- to-major progress; in the last-movement theme resembling the earlier composer's Ode to Joy—a relationship Brahms himself acknowledged as something that "any ass TANGLEWOOD WEEK 6 SATURDAY PROGRAM NOTES 31 could see" (perhaps less obvious is the relationship between the theme itself and the; slow-moving violin phrase of the last movement's opening measures) ; and, perhaps most strikingly, in the rhythmic thrust and tight, motivically based construction of the work—in some ways quite different from the melodically expansive Brahms we encounter in the later symphonies. But at the same time, there is really no mistaking the one composer for the other: Beethoven's rhythmic drive is very much his own, whereas Brahms's more typical expansiveness is still present throughout this sympho- ny, and his musical language is unequivocally 19th-century-Romantic in manner. Following its premiere at Karlsruhe on November 4, 1876, and its subsequent ap- pearance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as "long and not exactly ami- able." Clara Schumann found the ending "musically, a bit flat. . . merely a brilliant afterthought stemming from external rather than internal emotion." Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner's Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed "probably the greatest thing [Brahms] has yet created in the instrumental field." The composer's close friend Theodor Billroth described the last movement as "overwhelming," but found the material of the first movement "lacking in appeal, too defiant and harsh." One senses in these responses an inability to reconcile apparently conflicting ele- ments within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Hanslick put it, "the astonishing contrapuntal art" on the one hand and the "immediate communicative effect" on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale. The first Allegro's two principal motives—the three eighth-notes followed by a long er value, suggesting an abstraction of the opening timpani strokes, and the hesitant, three-note chromatic ascent across the bar, heard at the start in the violins—are al- ready suggested in the sostenuto introduction, which seems to begin in mid-struggle. The movement is prevailingly somber in character, with a tension and drive again suggestive of Beethoven. The second idea's horn and wind colorations provide only THE BSO ONLINE watch it listen 4)) explore BUYTICKETS • SUBSCRIBE • DONATE • PROGRAM LISTINGS DOWNLOAD PODCASTS • HISTORICAL FACTS • BIOGRAPHIES VISIT US AT BSO.ORG 32 passing relief: their dolce and espressivo markings will be spelled out at greater length in the symphony's second movement. The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threatened by the G-sharp minor of the movement's middle section (whose six- teenth-note figurations anticipate the main idea of the third movement) , but tran- quility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat Allegretto is typical of Brahms in a grazioso mood—compare the Second Symphony's third movement, or the finale of the Piano Concerto No. 2—and con- tinues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the outer ones, so too are they musically distant, having passed from the opening C minor to third-related keys: E major for the second movement and A-flat major for the third. At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement that precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its introduction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn motto and then the Allegro with its two main ideas: the broad C major tune suggestive of Beethoven's Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms's musical hall- mark. The movement drives to a climax for full orchestra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle. MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. Guest Artists Christoph von Dohnanyi Christoph von Dohnanyi is recognized as one of the world's preeminent orchestral and opera conductors. In addition to guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg; principal orchestral conducting posts in Germany, London, and Paris; and his legendary twenty-year tenure as music director of the Cleveland Orchestra. In the 2011-12 season he returns to North America for subscription concerts with the Boston and Kansas City sym- phony orchestras, the Cleveland Orchestra, and the New York Philharmonic. In summer 2011, he leads the Boston Symphony at Tanglewood and the Chicago Symphony at Ravinia. Honorary Conductor for Life of London's Philharmonia Orchestra, he and that orchestra recently performed in residence at Vienna's Musikverein, and toured Germany and the west coast of the United States. They have also developed a successful collaboration with the Theatre du Chatelet in Paris, where they have performed Strauss 's Arabella, DieFrau ohne Schatten, and Die schweigsame TANGLEWOOD WEEK 6 GUEST ARTISTS Frau, Schoenberg's Moses und Aron, Stravinsky's Oedipus Rex, and Humperdinck's Hansel und Gretel, among other works. Other highlights of Christoph von Dohnanyi's recent seasons include concerts with the Royal Concertgebouw Orchestra, the Orchestre de Paris, and the Israel Philharmonic, as well as concert series with the Los Angeles Philharmonic (leading the four Brahms symphonies over a two-week period) , the Boston and Chicago symphonies, the New York Philharmonic, and the Cleveland Orchestra. In summer 2010 he was music director for the Tanglewood Music Center's production of Richard Strauss's Ariadne aufNaxos. During his years with the Cleveland Orchestra, Christoph von Dohnanyi led the orchestra in a thousand concerts, fifteen international tours, twenty-four premieres, and the recording of more than one hun- dred works. Immediately upon the completion of his tenure there in 2002, he made long-awaited guest appearances with the major orchestras of Boston, Philadelphia, Pittsburgh, Chicago, and New York. He also conducts frequently at the world's great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Henze's Die Bassariden and Cerha's Baal. He also regularly appears with the Zurich Opera, where in recent years he has conducted Die Schweigsame Frau, a double bill of Stravinsky's Oedipus Rex and Bartok's Bluebeard's Castle, new productions of Verdi's Un ballo in maschera and Berg's Wozzeck, and, last sea- son, Schoenberg's Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner's Die Walkiire and Das Rheingold, and the complete symphonies of Beethoven, Brahms, and Schumann. Christoph von Dohnanyi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra in Symphony Hall and at Tanglewood since his BSO subscription concerts of November 2002. His GECKOS a e P cf j s f o Through September 18 Berkshiremuseum Route 7 • Downtown Pittsfield, MA www.berkshiremuseum.org • 413.443.7171 34 most recent BSO appearances were for two programs at Tanglewood last summer, and a subscription program of music by Ligeti, Mozart, and Dvorak this past January/ February at Symphony Hall. Next Friday night he returns to the Tanglewood podium for a BSO program of Schoenberg, Schumann, and Beethoven next Friday night. Yo-Yo Ma Yo-Yo Ma's multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to find connections that stimulate the imagination, while also maintaining a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities. He draws inspiration from a wide circle of collaborators, each fueled by the artists' interactions. One of his goals is the exploration of music as a means of communication, and as a vehicle for the migration of ideas across a range of cultures throughout the world. He established the Silk Road Project to promote the study of the cultural, artistic, and intellectual traditions along the ancient Silk Road trade route that stretched from the Mediterranean Sea to the Pacific Ocean. Throughout his career, Yo-Yo Ma has expanded the cello repertoire, per- * forming lesser-known music of the twentieth century and premieres of new works by a diverse group of composers, among them John Williams. Mr. Ma is an exclusive Sony Classical artist, and his discography of more than seventy-five albums reflects his wide-ranging interests. He has made several successful recordings that defy categorization, among them Hush with Bobby McFerrin, Appalachia Waltz and Appalachian Journey with Mark O'Connor and Edgar Meyer, Obrigado Brazil, and Obrigado Brazil-Live in Concert. Strongly committed to educational programs that not only bring young audiences into contact with music but also allow them to participate in its creation, he takes time whenever possible to conduct master classes as well as more informal ^programs; he has mentored thousands of students worldwide, in coun- tries including Lithuania, Korea, Lebanon, Azerbaijan, and China. Born in 1955 to Chinese parents living in Paris, Yo-Yo Ma began studying the cello with his father at age four and came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at the Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. A UN Messenger of Peace and a member of the President's Committee on the Arts & Humanities, he has performed for eight American presidents, including President Barack Obama for the 56th Inaugural Ceremony. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Since his Boston Symphony debut in February 1983, Yo-Yo Ma has appeared many times with the BSO in Boston, at Tangle- wood, and on tour. His Tanglewood appearances this summer included two perform- ances with the Mark Morris Dance Group in late June, and he appears in an Ozawa Hall concert tomorrow night with pianist Emanuel Ax and clarinetist Anthony McGill. TANGLEWOOD WEEK 6 GUEST ARTISTS 2011 Tanglewood Boston Symphony Orchestra 130th season, 2010-2011 Sunday, August 14, 2:30pm THE LEONARD BERNSTEIN MEMORIAL CONCERT For the benefit of the Tanglewood Music Center TANGLEWOOD MUSIC CENTER ORCHESTRA RAFAEL FRUHBECK DE BURGOS conducting FRUHBECK DE BURGOS "Brahms Fanfare" on Themes of the Fourth Symphony (world premiere) BRAHMS "Nanie" ("Lament"), for chorus and orchestra, Opus 82 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Text and translation are on page 39. "Schicksalslied" ("Song of Destiny"), for chorus and orchestra, Opus 54 TANGLEWOOD FESTIVAL CHORUS Text and translation are on page 40. Rhapsody for Contralto, Male Chorus, and Orchestra, Opus 53 STEPHANIE BLYTHE, mezzo-soprano MEN OF THE TANGLEWOOD FESTIVAL CHORUS Text and translation are on page 42. {Intermission} BRAHMS Symphony No. 2 in D, Opus 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi Andantino) Allegro con spirito The 2011 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean. 36 . 1^ Rafael Fruhbeck de Burgos (b.1933) "Brahms Fanfare" on Themes of the Fourth Symphony (world premiere) In August and September 2010, Rafael Fruhbeck de Burgos and the Dresden Philharmonic—of which he was chief conductor and artistic director from 2004 to 2011 —gave a series of four Brahms concerts in which each of the composer's four symphonies was paired with one of the four Brahms concertos (the two piano con- certos, the Violin Concerto, and the Double Concerto for violin, cello, and orches- tra) . In order to begin each of these concerts with music providing a modern compositional perspective on Brahms's themes, Maestro Fruhbeck and his orchestra commissioned four composers to write four "Brahms Fanfares" on themes from each of the respective symphonies, employing the same comple- ment of brass and percussion used in each of those works (four horns, two trumpets, three trombones, and timpani in Nos. 1 and 3, plus tuba in the Symphony No. 2 and triangle in the Symphony No. 4) There was a further aspect to the plan: in January 2010, Rafael Fruhbeck de Burgos and the Dresden Philharmonic were to inaugurate a new concert hall in the conductor's hometown of Burgos, Spain, with a performance of Beethoven's Ninth Symphony, followed by the same four Brahms programs the con- ductor and his orchestra had prepared and played in Dresden. As it happened, though the Brahms Fanfares on themes from the First, Second, and Third sym- phonies were well received in Dresden, the fanfare on themes from the Fourth was not—for which reason, Rafael Fruhbeck de Burgos decided to compose a "replace- ment" Brahms Fanfare on Themes of the Fourth Symphony himself. As a result of financial considerations, the opening of the new concert hall in Burgos has been postponed twice and is now scheduled for July 2012. Meanwhile, however, Fruhbeck's Brahms Fanfare on Themes of the Fourth Symphony has already been scheduled for performance in upcoming seasons by a number of different conduc- tors and orchestras—those performances being preceded by the world premiere this afternoon with conductor/composer Fruhbeck leading the Tanglewood Music Center Orchestra. ^22 Bank of America is proud to sponsor the 201 1 Tanglewood season. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES ( 37 NOTES ON THE PROGRAM Johannes Brahms (1833-1897) "Nanie" ("Lament"), Opus 82 "Schicksalslied" ("Song of Destiny"), Opus 54 First performance of "Nanie": December 6, 1881, Zurich Tonhalle Orchestra, Brahms cond. First performance of "Schicksalslied": October 18, 1871, Karlsruhe, Brahms cond. First BSO performance of "Schicksalslied": February 4, 1893, Arthur Nikisch cond. First BSO performance of "Nanie": August 25, 1968, Tanglewood, Erich Leinsdorf cond. First Tanglewood performance of "Schicksalslied": August 25, 1968, Erich Leinsdorf cond. Most recent Tanglewood performances of both "Nanie" and "Schicksalslied": August 7, 2005, Boston Symphony Orchestra, Rafael Friihbeck de Burgos cond., Tanglewood Festival Chorus, John Oliver, cond. In the two powerful choral works that are the first two pieces on this program, we meet Brahms in complex readings of poetry that expresses a tragic view of the world. We also meet a Brahms little-known to most listeners. For most of us, knowledge of Brahms's choral music begins and ends with A German Requiem, perhaps includes the Alto Rhapsody (insofar as one would count that as a choral work), possibly the Schicksalslied (Song of Destiny), but probably not Nanie or another equally powerful but seldom-played work, Gesang der Parzen ( Song of the Fates) . Intensely personal, Nanie and Schicksalslied (and also Gesang der Parzen) are extraordinary settings of extraordinary texts, bringing us sonorities, har- monies, and expressive gestures we don't find elsewhere in Brahms's music. The subject of these compositions, all saturated in the atmosphere and imagery of classical antiquity, is divine indifference to the human condition. In spite of that common ground, and though they are all short settings for chorus and &%PB&&& Proud Member of the Prestigious viall Luxury Hotels * Collection ^mM%,* Lramer Home of the A\ inning ZAGAT RAT RESOR 55 Lee Road Lenox, MA 1-800-CRANWELL www.cranwell.com 38 § orchestra of dark texts, they embody personalities as distinct as, for example, Brahms's three violin sonatas, piano trios, or string quartets, or any three of the symphonies. Even the tempi—Slow and yearning (Langsam und sehnsuchtsvoll) 4/4 in Schicksalslied; Andante 6/4 in Ndnie, Maestoso 4/4 in Gesang der Parzen—represent three wholly different aspects of "not fast." "Nanie" ("Lament")," Opus 82 Brahms was drawn to Friedrich Schiller's Ndnie in 1875, but deferred setting it then out of consideration for the composer Hermann Goetz, who had set this text the year before. The death in January 1880 of the painter Anselm Feuerbach moved Brahms to return to the poem and, oddly, so perhaps did the experience of hearing Goetz's version in Vienna a month later. He did his concentrated work on the composition in the summer of 1881, completing it by August 22 and conducting the first perform- ance at a special concert of the Zurich Tonhalle Orchestra on December 6, 1881. Auch das Schone muss sterben! Das Even Beauty must die; that which Menschen und Gotter bezwinget, overcomes men and gods Nicht die eherne Brust riihrt es des Does not touch the iron breast stygischen Zeus. of the Stygian Zeus.* Einmal nur erweichte die Liebe den Only once did love soften the Schattenbeherrscher, ruler of shadows, Und an der Schwelle noch, streng, rief And then, at the very threshhold, he er zuriick sein Geschenk. sternly called back his gift. Nicht stillt Aphrodite dem schonen Aphrodite could not staunch the Knaben die Wunde, wound of the beautiful youth Die in zierlichen Leib grausam der That the boar savagely tore into Eber geritzt. his delicate body.t Nicht errettet den gottlichen Held die Nor could the immortal mother unsterbliche Mutter, save the godlike hero, Wenn er, am skaischen Tor fallend, sein When he, falling at the Scaean gate, Schicksal erfullt. fulfilled his destiny. Aber sie steigt aus dem Meer mit alien But she rises from the sea with Tochtern des Nereus, all the daughters of Nereus,* Und die Klage hebt an um den And raises the lament for her verherrlichten Sohn. glorified son. Siehe, da weinen die Gotter, es weinen Behold, the gods weep, and all the die Gottinnen alle, goddesses, too, Dass das Schone vergeht, dass das That Beauty must pass away, that Vollkommene stirbt. the Perfect must die. Auch ein Klaglied zu sein im Mund der Even to be a lament in the mouth Geliebten ist herrlich, of the loved one is glorious, Denn das Gemeine geht klanglos zum For what is common sinks in silence to Orkus hinab. Orcus* [the Kingdom of the Dead]. FRIEDRICH SCHILLER * Hades, the ruler of the Underworld, beyond the River Styx. ° Orpheus was allowed to leave the Underworld with his beloved wife Eurydice, but when he looked back at her once before reaching the surface, he lost her again forever. t Adonis, loved by Aphrodite, found his death in a boar hunt. § Achilles, son of the sea-nymph Thetis, who died at the hands of Paris before the gates of Troy. *The father of Thetis and the other sea-nymphs. The Latin name for the kingdom of the dead, and its ruler. TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 39 "Schicksalslied" ("Song of Destiny"), Opus 54 Brahms made the first sketches for his Schicksalslied in the summer of 1868, probably completing a preliminary version by May 1870, but putting the work into its final form only a year later, and conducting the first performance on October 18, 1871, at Karlsruhe. The text is from Friedrich Holderlin's novel Hyperion. At the end, the ten- sion, the dissonance, between the violent close of Holderlin's "Song of Destiny" and the wondrous serenity of Brahms's luminous orchestral postlude is overwhelming. Ihr wandelt droben im Licht Ye walk above in the light, Auf weichem Boden, selige Genien! on soft ground, happy immortals! Glanzende Gotterliifte Shimmering divine breezes Riihren Euch leicht, touch you lightly, Wie die Finger der Kunstlerin as the fingers of the artist Heilige Saiten. touch sacred strings. Schicksallos, wie der schlafende Free from fate, like the sleeping Saugling, atmen die Himmlischen; infant, breathe the heavenly ones; Keusch bewahrt Chastely guarded In bescheidner Knospe in modest bud, Bliihet ewig their spirit Ihnen der Geist, blossoms eternally, Und die seligen Augen and their blessed eyes Blicken in stiller, gaze in hushed, Ewiger Klarheit. eternal clarity. Doch uns ist gegeben But it is our lot Auf keiner Statte zu ruhn; nowhere to find rest; Es schwinden, es fallen suffering humanity Die leidenden Menschen reels, falls Blindlings von einer blindly from one Stunde zur andern, hour to the next, Wie Wasser von Klippe hurled like water Zu Klippe geworfen, from ledge to ledge, Jahrlang ins Ungewisse hinab. downward for years into uncertainty. FRIEDRICH HOLDERLIN From notes by MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra. 40 C^K Johannes Brahms Alto Rhapsody, for Contralto, Male Chorus, and Orchestra, Opus 53 First performance: March 3, 1870, Jena, Ernst Naumann cond., Pauline Viardot-Garcia, soloist. First BSO performance (American premiere): February 11, 1882 (during the BSO's first season), Georg Henschel cond., Mary H. How, soloist. First Tanglewood perform- ance: August 3, 1946, Serge Koussevitzky cond., Carol Brice, soloist. Most recent Tangle- wood performance: July 18, 1999, Seiji Ozawa cond., Monica Groop, soloist; Men of the Tanglewood Festival Chorus, John Oliver, cond. A familiar feature of Brahms's reputation is that of "Brahms the Abstractionist." Against the 19th-century tide of Lisztian program music, Brahms upheld the pure forms of the Classical past, which went under the names of symphony, sonata, and the like. That reputation assumes that the Romantic cult of personality is foreign to Brahms. Hence he is "Olympian," which is to say, remote and impersonal. But as it is so often with Brahms: yes and no. As case in point, the Rhapsody for Contralto, Male Chorus, and Orchestra, Opus 53, generally called the "Alto Rhapsody." Even though its tone is hardly heart-on- sleeve and its craftsmanship impeccable as usual, Brahms himself made clear that its inspiration was personal, and painfully so. At age twenty, Brahms had been discovered by composer Robert Schumann and his pianist wife Clara. Soon after announcing the advent of a young genius, Robert fell into madness and Brahms fell in love with Clara. Neither man ever recovered. Schumann died in an asylum, and Brahms loved Clara for the rest of his life—but would not marry her or anyone else. Over the years, Brahms and Clara settled into a close but separate relationship. Then, in the 1860s, something grew unspoken between them: Brahms fell in love with Julie, the most beautiful of the Schumann daughters. On May 11, 1869, Brahms visited Clara in Baden-Baden and she inno- cently told him that Julie was engaged. Clara was astonished to see Brahms choke out a response and flee the house. Soon she figured out why. "Did he really love her?" Clara asked her journal. "But he has never thought of marrying, and Julie never had any inclination toward him." A week after Julie Schumann's wedding, Brahms brought Clara the Alto Rhapsody, calling it his own "bridal song." She was shattered by the music. "It is long since I remember being so moved by a depth of pain in words and music," she wrote. "This piece seems to be... the expression of his own heart's anguish." Brahms had always used the words of writers to express his own feelings, both in his notebooks of quotes and in his vocal music. For the Alto Rhapsody he chose a frag- ment of Goethe's poem Harzreise im Winter about a misanthropic and suicidal youth. "But who is that standing apart?" the text begins. "His steps recede into the bushes/ The thickets close behind him." Brahms set the opening words as a mournful recitative for the alto. Then comes an aria, perhaps the finest he ever wrote: "Ah, who can heal the pains of one. . .who sucked hatred of mankind/From the abundance of love?" After the bleakness of those lines, set to music dark and wandering, a prayer rises like a fresh dawn in the mens' voices, direct and heartfelt as a hymn, with the alto soaring above: "If in your psaltery, /Father of love, there is a tone/Which his ear can discern,/Refresh his heart!" Those words express Brahms's feelings and his purpose. The psaltery of the end, the harp of God's succor, represented the healing power of music, and so stands for the Alto Rhapsody itself. The prayer concludes with the familiar "Amen" cadence. And TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 41 as much as it could be for a melancholy man like Brahms, his prayer was answered: he had recovered from a wound and returned, after a fallow period, to the top of his form as a composer, wed more completely than ever to his art. But Brahms also began bitterly referring to himself, after the desperate youth in the poem, as "The Outsider." JAN SWAFFORD A faculty member at the Boston Conservatory, and an alumnus of the Tanglewood Music Center, where he studied composition, Jan Swafford is an award-winning composer and author whose books include biographies ofJohannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. Alto Rhapsody, for Contralto, Male Chorus, and Orchestra (Alto) Aber abseits, wer ist's? Who is that, wandering alone? Ins Gebusch verliert sich sein Pfad, He loses his way in the brush, hinter ihm schlagen Behind him the branches die Strauche zusammen, Close together again, das Gras steht wieder auf, The grass springs back again, die Ode verschlingt ihn. Emptiness swallows him. Ach, wer heilet die Schmerzen Ah, who can heal the pain des, dem Balsam zu Gift ward? Of one who finds poison in balsam? Der sich Menschenhass He has drunk the hate of mankind aus der Fuller der Liebe trank! From the cup of love! Erst verachtet, nun ein Verachter, First scorned, now scorning, zehrt er heimlich auf He secretly wastes seinen eignen Wert His own merit in ungeniigender Selbstsucht. In useless searching for himself. (Alto and Male Chorus) 1st auf deinem Psalter, If there is in your Psalter, Vater der Liebe, ein Ton Father of Love, a melody seinem Ohre vernehmlich, That can reach his ear, so erquicke sein Herz! Revive his heart! offne den umwolkten Blick Reveal to his clouded sight iiber die tausend Quellen The thousand fountains neben dem Durstenden Beside the thirsting soul in der Wixste. In the wasteland. JOHANN WOLFGANG VON GOETHE 42 . Johannes Brahms Symphony No. 2 in D, Opus 73 First performance: December 30, 1877, Vienna, Hans Richter cond. First BSO perform- ance: February 25, 1882, Georg Henschel cond. First BSO Berkshire Festival performance: August 15, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 14, 1938, Koussevitzky cond. Most recent Tanglewood performance: July 24, 2010, Herbert Blomstedt cond. In a letter to Clara Schumann, Johannes Brahms offhandedly revealed something fundamental about himself: "I always write only half-sentences, and the reader. . must supply the other half." He was talking about his letters, which were often mis- read, and were often intended to be. In person and on the page, Brahms was chroni- cally given to the oblique, the ironic, the unspoken. Likewise in some of his music we find an ironic play of surface appearance and hidden import; but in his art the irony was no joke, rather a symptom of his own thickly shrouded inner world. Another example is the celebrated Brahmsian lyricism. When we think of his warmly lyrical moments we usually think of his instrumental works, rather than where we would expect to find that warmth, in his songs. When Brahms was setting words with their inescapable emotions, he pulled back; he only warmed fully within the abstractions of instrumental music. Yet despite his historical reputation as a creator of "pure" music, his life and feelings always went into his work, where they could at once lie hidden and sing for all the world. Perhaps the most regularly misread of Brahms 's major works is his Second Symphony. From the beginning, critics hailed it as a sunny and halcyon vacation from the tur- bulent First Symphony. The Second, everybody said, is Brahms's counterpart to TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 43 — Beethoven's Pastoral, and looks back further to Haydn and Mozart at their most congenial. But if the Second paints an idyll, it is a lost idyll. Brahms himself hinted at its tangled import. To friend and critic Eduard Hanslick he wrote, "It'll sound so cheerful and lovely that you will think I wrote it specially for you or even your young lady." He cited the benevolent influence of his composing spot on the Worthersee: "[there are] so many melodies flying around that you have to be careful not to step on them." Meanwhile, having just finished the First Symphony after some fifteen years of wrestling with it, Brahms completed the Second—and several smaller works during one delightful four-month working vacation in the summer of 1877. To Clara Schumann, however, Brahms described the symphony as "elegiac." To his publisher he wrote, "The new symphony is so melancholy that you won't be able to stand it. I've never written anything so sad The score must appear with a black border." There the presumable joke is that the symphony usually strikes listeners as suave and enchanting. After all, every movement is in a major key. The deeper irony hidden in Brahms 's words is that the elegiac black border is as muchi^ a part of the symphony as its more explicit cheeriness. Brahms's Second is like a vision of nature and youth troubled by shadows that come and go like dark clouds in a summer sky. In his book on the Second Symphony, Late Idyll, Harvard scholar Reinhold Brinkmann calls this supposed hymn to nature and serenity a "questioning of the pastoral world, a firm denial of the possibility of pure serenity." Brahms's testament to the past is haunted by a skepticism and foreboding that seem prophetic. The questioning begins within the gentle opening. We hear a little three-note turn 44 in the basses (D-C-sharp-D), a melodic shape that will pervade the symphony. The basses are answered by an elegant wind phrase that at once suggests a Strauss waltz (Brahms admired the Waltz King) and the hunting horns of a Haydn symphony or divertimento. But all this gracious simplicity is deceptive. Anyone trying to waltz to this opening will fall on his face: the phrasing of the basses and the answering winds are offset by one measure, with neither predominating. At times the movement falls into tumultuous stretches where the meter is dismantled. The breezy and beautiful first theme is followed by a fervent second theme that, in itself, is in A major—but harmonized in F-sharp minor. Throughout the symphony, the brightness of major keys will be touched by darker minor-key tints. The more salient voices disturbing the placid surface are the trombones and tuba. After the balmy opening, the music seems to stop in its tracks; there is a rumble of timpani like distant thunder, and the trombones and tuba whisper a shadowy chorale, in cryptic harmonies. That shadow touches the whole symphony. Later, the develop- ment section is intensified by braying brasses—startling for Brahms, more startling in this halcyon work. From the beginning of the symphony's career there were some who saw the shad- ows. One of them, conductor and Brahms acquaintance Vincenz Lachner, com- plained to the composer about "the gloomy lugubrious tones of the trombones" intruding on the tranquility. Brahms replied with one of the most revealing state- ments he ever made about his music or about himself: I very much wanted to manage in that first movement without using trombones, . . . But their first entrance, that's mine, and I can't get along without it, and thus the trombones. I would have to confess that I am. . . a severely melancholic person, that black wings are constantly flapping above us, and that in my output—perhaps not entirely by chance—that symphony is followed by a little essay about the great "Why.". . . It casts the necessary shadow on this serene symphony and perhaps accounts for those timpani and trombones. The "little essay" Brahms mentions is another product of the same summer, the motet "Warum ist das Licht gegeben" (Opus 74, No. 1: "Wherefore is the light given to them that toil?") in which the chorus proclaims Job's anguished question, "Why? Why?" Thus the trombones, the necessary shadow, the great "Why." The second movement begins with a sighing high-Brahmsian cello theme. While the tone throughout is passionate and Romantic, the movement's languid beauties are unsettled by rhythmic and harmonic ambiguity. It ends with a chromatic haze like an expansion of the first movement's trombone chorale—and underneath, the relentless strokes of timpani that for Brahms were an image of fate, and the thought of fate always ominous. The final sustained chord sounds remarkably frail and uncertain for B major. If the keynote of the first two movements is tranquility compromised, in the last two movements gaiety and frivolity break out. Brahms was generally influenced by the vacation spots where he composed, for example the cliffs and crashing seas of Riigen that helped complete the stormy First Symphony. This time the pleasures of the Worthersee have the last word. The third movement unfolds as a charming and joc- ular scherzo marked by sudden shifts of rhythm and meter: an elegant Allegretto grazioso leaping into a skittering Presto. The finale is a romp, with one droll and delicious theme after another, ending unforgettably with a triumphant D major blaze of trombones. Here Brahms does something he was not supposed to know how to do—make an instrument the bearer TANGLEWOOD WEEK 6 SUNDAY PROGRAM NOTES 45 of meaning. The trombones as harbingers of fate have become the heralds ofjoy; avant-gardists of the next century would call that "tone-color composition." If the great "Why" is ultimately unanswerable, this time Brahms was happy to lay aside the question in favor oijoie de vivre, flourishing his trombones like a wineglass. Of Brahms 's four symphonies the Second often seems the most atavistic, the least ponderous and self-conscious. Yet in its pensive irony as in its masterful craftsman- ship, in its dark moments as in its jubilation, the Second is essentially Brahms. He was a composer who looked back to the giants of the past as an unreachable summit, and who looked to the future of music and civilization with increasing alarm. He was a man who felt spurned by his beloved hometown of Hamburg, who called himself a vagabond in the wilderness of the world. So midway through his journey as a sym- phonist, Brahms wrote a serenely beautiful masterpiece whose secret message is that you can't go home again. JAN SWAFFORD 0^ Guest Artists For a biography of Rafael Fruhbeck de Burgos, see page 17. Stephanie Blythe Mezzo-soprano Stephanie Blythe has sung in renowned opera houses in the United States and Europe, appearing in the title roles of Carmen, Samson et Dalila, Orfeo ed Euridice, La Grande-Duchesse de Gerolstein, Tancredi, Mignon, and Giulio Cesare; as Frugola, Principessa, and Zita in II trittico, Fricka in both Das Rheingold and Die Walkiire, Waltraute in Gotterddmmerung, Azucena in II trovatore, Ulrica in Un hallo in maschera, Baba the Turk in The Rake's Progress, Jezibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmelites, Isabella in Uitaliana in Algeri, Mistress Quickly in Falstaff, Ino/Juno in Semele, and Orlofsky in Die Fledermaus. Ms. Blythe has appeared with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, and the Ensemble Orchestre de Paris, under such conductors as Bicket, Conlon, Dutoit, Elder, Eschenbach, Levine, Luisotti, Mackerras, Nelson, Pappano, Rostropovich, Spano, Summers, and Tilson Thomas. She has also appeared at Tanglewood and the Ravinia Festival, and at the BBC Proms. Ms. Blythe has been presented in recital in New York by Zankel Hall, Lincoln Center's Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, the 92nd Street Y, Town Hall, and the Metropolitan Museum of Art. She has also been presented by the Vocal Arts Society and at the Supreme Court at the invitation of Supreme Court Justice Ruth Bader Ginsberg in Washington, D.C.; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, and Shriver Hall in Baltimore. She recently premiered Twelve Poems ofEmily Dickinson, by the late James Legg, in Town Hall, and also premiered Alan Smith's Vignettes: Ellis Island, a song cycle written especially for her and which was featured in a television special. She recently premiered and recorded Smith's Vignettes: Covered Wagon Woman, which was commis- sioned for her residency with the Chamber Music Society of Lincoln Center. Ms. Blythe starred in the Metropolitan Opera's live HD broadcasts of Orfeo ed Euridice and // trittico. Her recent solo recordings include works by Mahler, Brahms, and Wagner 46 and an album of Handel and Bach arias (all Virgin Classics). This season Ms. Blythe appeared as Fricka in the Metropolitan Opera's new productions of Das Rheingold and Die Walkiire and made her Lyric Opera of Chicago debut in Un ballo in maschera and The Mikado. She also appeared in concert at the Concertgebouw and with the Collegiate Chorale in Carnegie Hall. This summer brings concerts at the Cincinnati May Festival and Tanglewood. Next season she returns to the Metropolitan Opera for Rodelinda, Aida, and the complete Ring cycle, and appears with the New York Philhar- monic and with the Philharmonia Baroque Orchestra at Cal Performances. Ms. Blythe was named Musical America s Vocalist of the Year for 2009. harmonic and with the Philharmonia Baroque Orchestra at Cal Performances. Ms. Blythe was named Musical Americas Vocalist of the Year for 2009. Today's appearance with the Tanglewood Music Center Orchestra is the third of three performances by Ms. Blythe at Tangle- wood this summer: she was one of sixteen former and current Tanglewood voice students of Phyllis Curtin who participated in a 90th-birthday tribute to Ms. Curtin in the gala August 2 Tanglewood on Parade concert, and she appeared in Ozawa Hall this past Wednesday night in "Stephanie Blythe & Friends," a concert featuring her with several TMC faculty colleagues and the Tanglewood Festival Chorus. A TMC Vocal Fellow at Tanglewood in 1993 and 1994, she occupies the TMC's Edward and Lois Bowles Master Teacher Chair as a TMC faculty member this summer. Tanglewood Festival Chorus John Oliver, Conductor ;' ^iijQft /k, <1* H»0 aflat. fk f f 9' # • » t- « • ' • * \ >\ \ , • » * »j .» »« r» The Tanglewood Festival Chorus gave its first performance in April 1970, and celebrated its 40th anniversary last summer and throughout the 2010-11 season. This summer at Tanglewood, the ensemble joins the Boston Symphony Orchestra during the BSO's opening weekend for music from Bellini's Norma and Berlioz's Requiem with Charles Dutoit conducting, and, during the final weekend of the season in August, a concert performance of Gershwin's Porgy and Bess under Bramwell Tovey and Beethoven's Ninth Symphony led by Lorin Maazel. Also in August, the chorus performs Brahms's Ndnie, Schicksalslied, and Alto Rhapsody with Rafael Friihbeck de Burgos and the Tanglewood Music Center Orchestra, and participates in "Stephanie Blythe and Friends" in Ozawa Hall, performing Dallapiccola's Canti di prigionia and the world pre- miere of Alan Smith's An Unknown Sphere for mezzo-soprano and chorus, the latter work commissioned by the BSO specifically for the 40th anniversary of the Tanglewood Festival Chorus. In June, members of the chorus joined James Taylor in Seiji Ozawa Hall for 'James Taylor and Friends." TANGLEWOOD WEEK 6 GUEST ARTISTS 47 Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven's Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University I and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO's sub- scription season, as well as in BSO performances at New York's Carnegie Hall. Now numbering more than 250 members, the Tanglewood Festival Chorus performs year- round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. The chorus's first recording with the BSO, Berlioz's La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg's Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent record- ings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble's 40th anniversary, and, with James Levine and the BSO, Ravel's complete Daphnis and Chloe (a Grammy-winner for Best Orchestral Performance of 2009), Brahms's Ein deutsches Requiem, and William Bolcom's Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony Orchestra, members of the Tanglewood Festival Chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan, and sang Verdi's Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy's funeral; has performed with the Boston Pops for the Boston Red Sox on Opening Day, and can also be heard on the soundtracks to Clint Eastwood's Mystic River, John Sayles's Silver City, and Steven Spielberg's Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni fre- quently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its forty-year history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike. 48 , John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years) and Fellows of the Tanglewood Music Center who now perform with distin- guished musical institutions throughout the world. Mr. Oliver's affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO's performances and record- ing of excerpts from Berg's Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO's performances and recording of Mahler's Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. He made his Boston Symphony conducting debut at Tanglewood in August 1985, led sub- scription concerts for the first time in December 1985, conducted the orchestra most recently in July 1998, and returned to the BSO podium to open the BSO's final Tanglewood concert of 2010 with a TFC performance of Bach's motet, Jesu, meine Freude. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives's The Celestial Country and Charles Loeffler's Psalm 137 for Northeastern Records, and Donald Martino's Seven Pious Pieces for New World Records. Mr. Oliver's appearances as a guest conductor have included Mozart's Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn's Elijah and Vaughan Williams's A Sea Symphonywith the Berkshire Choral Institute. In May 1999 he prepared the chorus and children's choir for Andre Previn's performances of Benjamin Britten's Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn's Carnegie performance of Brahms's Ein deutsches Requiem. Also an expert chef and master garden- er, John Oliver lives in western Massachusetts. TANGLEWOOD WEEK 6 GUEST ARTISTS 49 Tanglewood Festival Chorus John Oliver, Conductor (Brahms program, August 14, 2011) In the following list, § denotes membership of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos Margaret Batista • Michele Bergonzi # • Aimee Birnbaum • Joy Emerson Brewer • Angelina Calderon • Jeni Lynn Cameron • Anna S. Choi • Kelly Corcoran • Bonnie Gleason • Alexandra Harvey • Bronwen Haydock • Eileen Huang • Stephanie Janes • Polina Dimitrova Kehayova • Nancy Kurtz • Alison E. LaGarry • Barbara Abramoff Levy § • Margaret D. Moore • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Livia M. Racz • Adi Rule • Laura C. Sanscartier • Johanna Schlegel • Kristyn M. Snyer • Dana R. Sullivan • Anna Ward • Lisa Watkins • Alison Zangari Mezzo-Sopranos Virginia Bailey • Martha A. R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A Boice • Laura B. Broad • Janet L. Buecker • Abbe Dalton Clark • Cypriana Slosky Coelho • Lauren Cree • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman # • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Rachel K. Hallenbeck • Betty Jenkins • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Eve Kornhauser • Annie Lee • Gale Livingston # • Katherine Mallin • Anne Forsyth Martin • Louise Morrish • Laurie R. Pessah • Julie Steinhilber # • Cindy M. Vredeveld • Sara Weaver Tenors Armen Babikyan • John C. Barr # • Felix M. Caraballo • Chad D. Chaffee • Stephen Chrzan • Sean Dillon • Kevin F. Dohertyjr. • Ron Efromson • Jonathan Erman • Keith Erskine • Len Giambrone • James E. Gleason • # • # • • # • J. Stephen Groff David Halloran Luke A Hamblen Stanley G. Hudson James R. Kauffman # • Lance Levine • Ronald Lloyd • Henry Lussier * • • # • • • Ronald J. Martin Dwight E. Porter Peter Pulsifer Brian R. Robinson Peter L. Smith • Hyun Yong Woo Basses Thomas Anderson • Daniel E. Brooks # • Matthew Collins • Mark Costello • Matthew E. Crawford • Michel Epsztein • Jeff Foley • Mark Gianino • Alexander Goldberg • Jay S. Gregory # • Kelby Khan • G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan # • Nathan Lofton • Christopher T. Loschen • Lynd Matt • Devon Morin • Eryk P. Nielsen • Stephen H. Owades § • Donald R. Peck • Bradley Putnam • Peter Rothstein * • Karl Josef Schoellkopf • Kenneth D. Silber • • Scott Street • Joseph J. Tang • Craig A. Tata • Bradley Turner • Jonathan VanderWoude # • • * Thomas C. Wang Terry L. Ward Peter J. Wender Mark B. Rulison, Chorus Manager Matthew A. Larson, Rehearsal Pianist Livia M. Racz, Language Coach 50 L Tanglewood Music Center Orchestra (Brahms program, August 14, 2011) + Violin Jeremy Crosmer Tyler Holt David Andai Natalie Helm Adedeji Bailes Ogunfolu Kathryn Andersen Mihail Jojatu A Anna Spina ^ * Breana Bauman * (II) SeHee Kim Trumpet Samantha Bennett Sato Knudsen A ^ Louisa Blood Jeremy Lamb Alex Fioto Maliniak Kelsey Blumenthal * (I) Loewi Lin Mark + Amy Cave Annamarie Reader Toby Penk * Wen-Tso Chen Mikala Schmitz Kyle Sherman Andrea Daigle Sarah Stone Najib Wong Susannah Foster Caleb van der Swaagh Trombone Amy Galluzzo Ying-Jun Wei * Paul Jenkins ^ Toanna Grosshans (I) Joshua Zajac Douglas Rosenthal * lennise Hwang •J O Double Bass Christopher Wolf + Myoung-Ji Jang Edwin Barker A Natalie Kress Bass Trombone Ku Won Kwon David George * Adam Rainey * + * Haerim Lee Ian Hallas Robin Kesselman KahYee Lee (II) Tuba Matthew Leslie-Santana Brandon Mason Jose Martinez Anton * Qianqian Li Lee Philip Ikuko Mizuno A Rex Surany Timpani Nathaniel West Lijia Phang Ethan Pani A Wendy Putnam "& + Flute Ian Sullivan Micah Ringham * * Daniel Zawodniak Lee Sheehan Henrik Heide Martha Long * Sarah Silver Percussion Seth Morris + Wang Fang Rong Ethan Pani & Benjamin Smolen Jennifer Yamamoto Alyssa Yank Harp \JyJ\J\jOhop Maggie Zeng Grace Browning Jonathan Bragg + Tomina Parvanova Viola Amanda Hardy Sarah Lewis * * Elizabeth Breslin Personnel Manager Paul Lueders Padua Canty Joanna K. Trebelhorn Daniel Getz Clarinet Danny Kim Librarians William Amsel Kazuko Matsusaka A John Perkel Georgiy Borisov * Amy Mason Michael Ferraguto ( TMC Danny Goldman * Esther Nahm Fellow) Ching-Chieh Hsu + Kim Mai Nguyen Elaine Li (TMC Fellow) AJNilles Bass Clarinet Jocelin Pan Tzuying Huang Roberto Papi "& Principal, Fanfare Anthony Parce Bassoon Principal, Ndnie * + Principal, Schicksalslied Madeline Sharp Kathryn Brooks * * Principal, Alto Rhapsody Brian Sherwood Keith Buncke Tatiana * Principal, Symphony No. 2 Trono Joyce Fleck + * Principal, Ndnie, Schicksals- /"* 1 — 1 — Thomas Schneider Cello lied, and Alto Rhapsody Oliver Aldort Horn A BSO Member Marybeth Brown-Plambeck Matthew Bronstein * Rosanna Butterfield Katharine Caliendo Nicholas Hartman TANGLEWOOD WEEK 6 GUEST ARTISTS (' 51 Great Benefactors In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could neverfully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following gener- ous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Elizabeth P. Roberts, Director ofDevelopment— Campaign and Individual Giving, at 61 7-638-9269 or [email protected]. Ten Million and above Mr. Julian Cohen t • Fidelity Investments • Linde Family Foundation • Ray and Maria Stata • Anonymous Seven and One Half Million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr., and Mary L. Cornille Five Million Bank of America and Bank of America Charitable Foundation • Paul and Catherine Buttenwieser • Germeshausen Foundation • NEC Corporation • UBS • Stephen and Dorothy Weber Two and One Half Million Mr. and Mrs. J.P. Barger • Peter and Anne Brooke • Eleanor L. Campbell and Levin H. Campbell Commonwealth of Massachusetts • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • • • Alan J. and Suzanne W. Dworsky EMC Corporation The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack t Fitzpatrick • Sally and Michael Gordon • The Kresge Foundation • Susan Morse Hilles Trust • Liberty Mutual Foundation, Inc. • National Endowment for the Arts • William and Lia Poorvu • Miriam and Sidney Stoneman t • Estate of Elizabeth B. Storer • Mr. and Mrs. John Williams • Anonymous (2) One Million American Airlines • Mr. and Mrs. Harlan E. Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • Mr. William I. Bernell t • George and Roberta Berry • BNY Mellon • Alan S. and Lorraine D. Bressler • Jan Brett and Joseph Hearne • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. t and Mrs. William H. Congleton • William F. Connell t and Family • Country Curtains • John and Diddy Cullinane • Lewis S. and Edith L. Dabney • Mr. and Mrs. Stanton W. Davis t • Estate of Mrs. Pierre de Beaumont • Estate of Elizabeth B. Ely • John P. II and Nancy S. t Eustis • Shirley and Richard Fennell • Estate of Anna E. Finnerty • The Ann and Gordon Getty Foundation • Estate of Marie L. Gillet • The Gillette Company • Sophia and Bernard Gordon • Mrs. Donald C. Heath t • Estate of Francis Lee Higginson • Major Henry Lee Higginson t • Estate of Edith C. Howie • Dorothy and Charlie Jenkins • John Hancock Financial Services • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • Estate of Richard L. Kaye • George H. t and Nancy D. Kidder • 52 Harvey Chet t and Farla Krentzman • Liz and George Krupp • Bill t and Barbara Leith • Estates ofJohn D. and Vera M. MacDonald • Nancy Lurie Marks Family Foundation • Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • The Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mrs. Robert B. Newman • Mrs. Mischa Nieland t and Dr. Michael L. Nieland • Megan and Robert O'Block • Mr. Norio Ohga t • Carol and Joe Reich • Mr. and Mrs. Dwight P. Robinson, Jr. t • Susan and Dan Rothenberg • Estate of Wilhemina C. Sandwen • Dr. Raymond and Hannah H. t Schneider • • • • Carl Schoenhof Family Kristin and Roger Servison Ruth and Carl J. Shapiro Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith Sony Corporation of America • State Street Corporation • Thomas G. Sternberg • Dr. Nathan B. and Anne P. Talbot t • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Estate of Mrs. Helen Zimbler • Anonymous (10) t Deceased TANGLEWOOD WEEK 6 GREAT BENEFACTORS ^ The Koussevitzky Society The Koussevitzky Society recognizes gifts made since September 1, 2010, to the followingfunds: Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2010-11 season. Forfurther information on becoming a Koussevitzky Society member, please contact Allison Goossens, Associate Director of Society Giving at 413-637-5161. Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund Appassionato $100,000 and above Sally and Michael Gordon • Caroline and James Taylor Virtuoso $50,000 to $99,999 Linda J. L. Becker • George and Roberta Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Mrs. Joyce Linde • Mrs. Irene Pollin • Carol and Joseph Reich • Kitte t and Michael Sporn Encore $25,000 to $49,999 Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Canyon Ranch • Country Curtains • Elizabeth W. and John M. Loder • Kate and Al Merck • Drs. Eduardo and Lina Plantilla • Renee Rapaporte • Ronald and Karen Rettner • Susan and Dan Rothenberg • Stephen and Dorothy Weber Benefactors $20,000 to $24,999 Joseph and Phyllis Cohen • Dr. and Mrs. T. Donald Eisenstein • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Robert and Stephanie Gitdeman • Mr. and Mrs. Lawrence S. Horn • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Dr. Robert and Jane B. Mayer • Henrietta N. Meyer • Claudio and Penny Pincus • Carole and Edward I. Rudman • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro $15,000 to $19,999 • BSO Members' Association • Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Scott M. Hand Stephen B. Kay and Lisbeth L. TarloW • Mrs. Millard H. Pryor • Mr. Jan Winkler and Ms. Hermine Drezner Patrons $10,000 to $14,999 Helaine Allen • Robert and Elana Baum • Mr. and Mrs. George D. Behrakis • The Berkshire Capital Investors • Phyllis and Paul Berz • Blantyre • Mr. and Mrs. Lee N. Blatt • Paul and Catherine Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Jane and Jack t Fitzpatrick • Rhoda Herrick Mr. and Mrs. Stuart Hirshfield • Dr. and Mrs. Edwin H. Hopton • Valerie and Allen Hyman • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • In memory of Florence and Leonard S. Kandell • Mr. Brian A. Kane • Robert and Luise Kleinberg • Mr. and Mrs. Jacques Kohn • Lizbeth and George Krupp • The Claudia & Steven Perles Family Foundation • Frank M. Pringle • The Red Lion Inn • John S. and Cynthia Reed • Maureen and Joe Roxe/The Roxe Foundation • Alan Sagner • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Arlene and Donald Shapiro • Daniel and Lynne Shapiro • The Honorable and Mrs. George P. Shultz • Carol and Irv Smokier • Margery and Lewis Steinberg • Suzanne and Robert Steinberg • The Studley Press, Inc. • Jacqueline and Albert Togut • Mr. Gordon Van Huizen • Loet and Edith Velmans • Wheatleigh Hotel and Restaurant 54 Sponsors $5,000 to $9,999 Abbott's Limousine Service 8c Livery • Alii and Bill Achtmeyer • American Terry Company • Dr. Norman Atkin • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Joan and Richard Barovick • Berkshire Bank and Berkshire Insurance Group • Berkshire Money Management, Inc. • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Ann Fitzpatrick Brown • Lynn and John Carter • Richard and Patricia Cavanagh • James and Tina Collias • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Crane & Company, Inc. • Mr. and Mrs. William F. Cruger • Ursula Ehret-Dichter and Channing Dichter • Marion and Sig Dubrow • Mr. Alan R. Dynner • Eitan and Malka Evan • Gwenn Earl Evitts • Mr. David Fehr • • Myra and Raymond Friedman • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield Dr. Donald and Phoebe Giddon • Joe and Perry Goldsmith • Corinne and Jerry Gorelick • John and Chara Haas • Joseph K. and Mary Jane Handler • Dr Lynne B Harrison • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Mr. and Mrs. R. Courtney Jones • Kahn Family Foundation • Natalie Katz, in memory of Murray S. Katz • Deborah and Arthur Kaufman • • Koppers Chocolate • William and Marilyn Larkin • Legacy Banks • Cynthia and Robert J. Lepofsky Arlene and Jerome Levine • Murray and Patti Liebowitz • Phyllis and Walter F. Loeb • Mr. and Mrs. Edwin N. London • Wesley McCain and Noreene Storrie • Ms. Janet A. McKinley • • • Rebecca and Nathan Minkowsky • Judy and Richard J. Miller Mr. and Mrs. Michael Monts Mr. and Mrs. John C. Morris • Robert and Eleanor Mumford • Myriad Productions, Inc. • Jerry and Mary Nelson • Mrs. Alice D. Netter • Mr. and Mrs. Chet Opalka • Dr. and Mrs. Simon Parisier • Jonathan and Amy Poorvu • Quality Printing Company, Inc. • The Charles L. Read Foundation • Dr. Robin S. Richman and Dr. Bruce Auerbach • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Mr. and Mrs. Milton Rubin • Suzanne and Burton Rubin • Sue Z. Rudd • Mr. and Mrs. Kenan Sahin • Malcolm and BJ Salter • Dr. and Mrs. James Satovsky • Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Mr. and Mrs. Joel Shapiro • Sheffield Plastics, Inc. • Hannah and Walter Shmerler • The Silman Family • Marion and Leonard t Simon • Mr. and Mrs. Robert L. Singleton • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Mr. and Mrs. William Taft • Aso O. Tavitian • Jean C. Tempel • Jerry and Roger Tilles • Ms. Gay G. Tucker • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Mr. and Mrs. Edwin A. Weiller III • Robert and Roberta Winters • Patricia Plum Wylde • Anonymous (6) Members $3,000 to $4,999 Abbott Capital Management, LLC • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Howard Aibel • Mr. Michael Albert • Mr. and Mrs. Ronald Altman • Arthur Appelstein and Lorraine Becker • Apple Tree Inn • Gideon Argov and Alexandra Fuchs • Barrington Associates Realty Trust • Mr. Stephen Y. Barrow • Timi and Gordon Bates • Dr. Burton and Susan Benjamin • Jamie and Ethan Berg • David and Cindy Berger • Helene and Ady Berger • Jerome and Henrietta Berko • Mr. and Mrs. Richard Berkowitz • Berkshire Co-op Market • Berkshire Landmark Builders • Mr. and Mrs. James L. Bildner • Dr. Stanley and Gail Bleifer • Mr. and Mrs. Nat Bohrer • Mr. and Mrs. Nicholas Boraski • Marlene and Dr. Stuart H. Brager • Mr. and Mrs. James H. Brandi • Anne E. and Darrel S. Brodke • Ms. Sandra L. Brown • Samuel B. and Deborah D. Bruskin • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Allan S. Bufferd • Careers Through Culinary Arts Program • Phyllis H. Carey • David and Maria Carls • Mary and Robert Carswell • Joel Cartun and Susan Cartun • Frederick H. Chicos • Lewis F. Clark, Jr. • Cohen Kinne Valicenti & Cook LLP • Barbara Cohen-Hobbs • Carol and Randy Collord • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Herbert and Jeanine Coyne • Cranwell Resort, Spa 8c Golf Club • Mr. Ernest Cravalho and Ms. Ruth Tuomala • Mrs. Ann Cummis • Mr. Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Dresser-Hull Company • Terry and Mel Drucker • Ann Dulye and Linda Dulye • Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Elaine Sollar Eisen and Edwin Roy Eisen • Elm Court Estate • Mr. and Mrs. Monroe B. England • Dr. and Mrs. Gerald D. Falk • Ms. Marie V. Feder • Mr. and Mrs. Carl M. Feinberg • Dr. Jeffrey and Barbara Feingold • Ms. Nancy E. Feldman • TANGLEWOOD WEEK 6 THE KOUSSEVITZKY SOCIETY 55 Mr. and Mrs. Richard Fentin • Mr. and Mrs. Philip Fidler • Karen and James Finkel • Doucet and Stephen Fischer • Betty and Jack Fontaine • Herb and Barbara Franklin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • The Hon. Peter H.B. Frelinghuysen t • Mr. Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Genatt Associates • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. Melvin Y. Gershman < Drs. Anne and Michael Gershon • Virginia and James Giddens • Stephen A. Gilbert and Geraldine R. Staadecker • David H. Glaser and Deborah F. Stone • Sy and Jane Glaser • Mr. Stuart Glazer and Mr. Barry Marcus • Ms. Erika Z. Goldberg and Dr. Stephen Kurland • Mrs. Patricia Goldman • Roberta Goldman • Mr. and Mrs. Seymour L. Goldman • Judith Goldsmith • Roslyn K. Goldstein • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Dr. and Mrs. Sherwood L. Gorbach • Goshen Wine and Spirits, Inc. • Jud and Roz Gostin • Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman • Mr. and Mrs. Sheldon A. Gross • Carol B. Grossman • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Felda and Dena Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki T and Michael S. Heifer • Mr. Gardner C. Hendrie and • • • Ms. Karen J. Johansen Mr. Arnold J. and Helen G. Hoffman Charles and Enid Hoffman • Mr. David J. Hurvitz and Ms. Martha W. Klein • Lolajaffe • Mr. and Mrs. Werner Janssen, Jr. Mr. and Mrs. Daniel R. Johnson • Ms. Lauren Joy • Mrs. Louis Kaitz • Carol and Richard Kalikow • Adrienne and Alan Kane • Ms. Cathy Kaplan • Marcia Simon Kaplan • Martin and Wendy Kaplan • Monsignor Leo Kelty • Kemble Inn • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Drs. Sharon and Jonathan Kleefield • Mr. Robert E. Koch • Sam Kopel and Sari Scheer • Dr. and Mrs. David Kosowsky • Diane Krane and Myles Slosberg • Mr. and Mrs. Richard Kronenberg • Naomi Kruvant • Mr. James E. Kucharski • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Shirley and Bill Lehman • Helaine and Marvin Lender • David and Lois Lerner Family Foundation • • • Mr. Arthur J. Levey and Ms. Rocio Gell Marjorie T Lieberman • Geri and Roy Liemer Ian and Christa Lindsay • Mr. and Mrs. A. Michael Lipper • Jane and Roger Loeb • Gerry and Sheri Lublin • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Mr. and Mrs. Darryl Mallah • The Marketplace • Suzanne and Mort Marvin • Mary and James Maxymillian • Dr. and Mrs. Malcolm Mazow • The Messinger Family • Wilma and Norman Michaels • Peter and Yvette Mulderry • Mr. and Mrs. Raymond F Murphy, Jr. • Mr. and Mrs. Joseph L. 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Fisher • Pearl and Alvin Schottenfeld • Karyn and James Schwade • Martin and Jane Schwartz • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • The Richard Shields Family • Beverly and Arthur T Shorin • Linda and Marc Silver • Richard B. Silverman • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Jack and Maggie Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang Mrs. Lauren Spitz • Lynn and Ken Stark • Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling < Norma and Jerry Strassler • Mrs. Pat Strawgate • Mr. and Mrs. Edward Streim • Michael and Elsa Daspin Suisman • Marjorie and Sherwood Sumner • Mr. and Mrs. George A. Suter, Jr. Mr. and Mrs. Gerald E. Swimmer • Mr. and Mrs. Richard Taylor • TD Bank • John Lowell Thorndike • • • David J. Tierney, Jr., Inc. Diana O. Tottenham Barbara and Gene Trainor Myra and Michael Tweedy • Ron and Vicki Weiner • Betty and Ed Weisberger • Mr. and Mrs. Barry Weiss • Dr. and Mrs. Jerry Weiss • Tom and Suky Werman • Ms. Michelle Wernli and Mr. John McGarry • Ms. Carol Andrea Whitcomb • Carole White • Peter D. Whitehead Builder, LLC « Mr. Robert G. Wilmers • The Wittels Family • Pamela and Lawrence Wolfe • Mr. and Mrs. Ira Yohalem Carol and Robert Zimmerman • Lyonel E. Zunz • Anonymous (6) t Deceased 56 . *'.>\Ur 3i*« ? '*. - '** • ^^Srvfmm0^ in 1 ' *w , JLJK*l«£* '3A-i v •v-?:w-'. $f fHE MOUN1 Tours, Programs, Exhibits, Cafe, & Bookstore Open Daily 10am-5pm May 7-October 31 Kids & Teens Free Admission Route 7 at Plunkett St., Lenox EdithWharton.org 413-551-5111 The sweet music of tradition. HancockVILLAGEShaker The Shakers danced and shook with the passion of their beliefs, and the world is shaking still. Come find out what inspired them and discover an extraordinary way of living. Scan here to expand your Route 20, Pittsfield, MA 01201 experience with private tours, 413-443-0188 • hancockshakervillage.org workshops and special exhibits. 1 The Tradition Continues. Combining natural beauty with a relaxing, unhurried pace, historic Cooperstown's Otesaga Resort Hotel offers families first-rate accommodations, fine dining and an array of sports and recreational activities. For reservations please call (800) 348-6222 or email [email protected]. Over 100 Years of Qracious Hospitality® The Otesaga Resort Hotel, 60 Lake Street, Cooperstown, NY Otesaga.com Historic Hotels o/America Gqdper^stown America's Most Perfect Villace* Ul\ H OitllUUL w ^ ^ w/u int fvLNUur ri\u —*G r-r-, RINWILHELMI Anchorage, Alaska , c - r^ r?^, C3. ^ ^o ;— 3> C? L Omiu, l * l FOUND THt you with an education that is both innovative and relevant— providing you with#i:e skills and experience PERFECT PLACE you need for life after college! 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" COHEN KINNE VALICENTI COOK LLP Attorneys Pittsfield, MA I 413.443.9399 I Great Barrington, MA I 413.528.9399 cohenkinne.com Come 7-fome to the Sweet Hife ... Minted... stimmatmcj ... fun - £_ T^r i £frffi% T^^t^^mL .. i*«<"!£".g3« 1611 Cold Spring Road • Williamstown, MA 01267 ' of Williamstown (413) 458-8371 • www.sweetwoodliving.com | , Retirement Living Community 1 NEW ENGLAND PUBLIC RADIO PLEASE Listen to classical music SPEAK FEROCIOUS SOUND weekdays from 9 to 4 onWFCR The acquisition of wisdom by MCLA Gallery 51 Manager Ven Voisey 88.5FM (Amherst) MCLA — where art starts 101.1FM (Adams/North Adams; Berkshire Cultural Resource Center 98.7FM (Great Barrington) MCLA Gallery 51 • MCLA Presents! • Berkshire Hills Internship 98.3FM (Lee) Program (B-HIP) • DownStreet Art • Tricks of the Trade 106.1FM (Pittsfield) 413-664-8718 * www.mcla.edu/bcrc 96.3FM (Williamstown) Massachusetts College Of Liberal Arts, North Adams, MA AM640/91.7FMWNNZ Located in the beautiful and culturally rich Berkshires / (J ^signature of excelle the 78th Annual August 6-14, 2011 PAIR Mount Sunapee Resort Newbury, NH Ceramic Turtle by Glen Maclnnis Lead Sponsor f^ Tickets available at ILA DUPREY www.nhcrafts.org COMPANIES Qh August at Tanglewood Tuesday, August 2, 8:30pm (Gala Concert) Wednesday, August 10, 8pm Tanglewood on Parade Stephanie Blythe and Friends {Grounds open at 2pm for activities throughout STEPHANIE BLYTHE, mezzo-soprano the day.) ALAN SMITH, piano BSO, BOSTON POPS ORCHESTRA, and ANDREW JENNINGS, violin TMC ORCHESTRA NORMAN FISCHER, cello STEFAN ASBURY, CHRISTOPH ESCHEN- TANGLEWOOD FESTIVAL CHORUS, BACH, RAFAEL FRUHBECK DE BURGOS, JOHN OLIVER, conductor and JOHN WILLIAMS, conductors MEMBERS OF THE BSO and FELLOWS OF THE TMC Friday, August 5, 6pm, Ozawa Hall Music of Alan Smith and Dallapiccola, plus (Prelude Concert) early American popular songs and choruses MEMBERS OF THE BSO Music of Bohme, Bozza, Hindemith, and Friday, August 12, 6pm, Ozawa Hall Bach/Rosenthal (Prelude Concert) MEMBERS OF THE BSO Friday, August 5, 8:30pm IEVAJOKUBAVICIUTE, piano BSO—RAFAEL FRUHBECK DE BURGOS, Music of Dahl and Dvorak conductor YUJA WANG, piano Friday, August 12, 8:30pm BEETHOVEN Symphony No. 8 BSO—RAFAEL FRUHBECK DE BURGOS, RACHMANINOFF Rhapsody on a Theme conductor of Paganini PEPE ROMERO, guitar STRAUSS Suite from Der Rosenkavalier BIZET Orchestral excerpts from Carmen RODRIGO Concierto de Aranjuez, for guitar Saturday, August 6, 10:30am and orchestra Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOCCHERINI/BERIO II ritirata notturna di BSO program of Sunday, August 7 Madrid FALLA Excerpts from La vida breve Saturday, August 6, 8:30pm GRANADOS Intermezzo from Goyescas GIMENEZ Intermezzo from La boda de Luis BSO—SEAN NEWHOUSE, conductor Alonso SARAH CHANG, violin JALBERT Music of air and fire Saturday, August 13, 10:30am MENDELSSOHN Violin Concerto Open Rehearsal (Pre-Rehearsal Talk, 9:30am) RACHMANINOFF Symphony No. 2 BSO program of Saturday, August 13 Sunday, August 7, 2:30pm Saturday, August 13, 8:30pm BSO—LIONEL BRINGUIER, conductor BSO—CHRISTOPH VON DOHNANYI, EMANUEL AX, piano conductor SMETANA "The Moldau" from Ma Vlast YO-YO MA, cello MOZART Piano Concerto No. 22 in E-flat, PROKOFIEV Symphony No. 1, Classical K.482 SCHUMANN Cello Concerto TCHAIKOVSKY Symphony No. 5 BRAHMS Symphony No. 1 Monday, August 8, 7pm Sunday, August 14, 2:30pm TRAIN The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRUHBECK Tuesday, August 9, 8pm DE BURGOS, conductor BOSTON SYMPHONY CHAMBER PLAYERS STEPHANIE BLYTHE, mezzo-soprano ANDRE PREVIN, piano TANGLEWOOD FESTIVAL CHORUS, Music of Martinu, Previn, Milhaud, and JOHN OLIVER, conductor Mozart ALL-BRAHMS PROGRAM Ndnie and Schicksalslied, for chorus and orchestra Alto Rhapsody Symphony No. 2 Bravo Tanglewood! Thank you for inspiring young performing artists from Berkshire County and beyond. %, "^^Huihan Liu ~ Fine Art Galleries Performances Berkshire School SHEFFIELD, MASSACHUSETTS The Bennington 413.229.851 1 www.berkshireschool.org Vermont 802-442-7158 benningtoncenterforthearts.org 4 Enchanted Evenings. 200 Voices in Song. H July 16 7:30pm Carol Barnett-The World Beloved: W A Bluegrass Mass Leonard Bernstein—Chichester Psalms Adolphus Hailstork-Break Forth ,-J July 23 7:30pm Mendelssohn-ii/i^/? Ol July 30 7:30pm Elgar- The Music Makers X Vaughan WiHiams-Magnificat U Brahms-Alto Rhapsody w August 6 7:30pm Monteverdi- Vespro della Beata Vergine (Monteverdi Vespers) X CO Beethoven is alive and well and performing his cabaret act this summer. Join us nightly for BOX Office: 413.229.1999 Tickets: $15-$45 an irreverant take on his life and times. PREPs: Free pre-concert talks at 6:15pm Pi Tickets at www.ludwiglive.com or the Seven Hills Inn 245 North Undermountain Road W 40 Plunkett Street, Lenox 413-637-0060 Sheffield, MA 01257 www.choralfest.org PQ Sunday, August 14, 8pm Sunday, August 21, 8pm EMANUEL AX, piano RADIO DELUXE with JOHN PIZZARELLI YO-YO MA, cello and JESSICA MOLASKY ANTHONY MCGILL, clarinet plus special guests from the worlds of jazz, Music of Schubert, Beethoven, and Brahms pop, and Broadway Tuesday, August 16, 7:30pm Thursday, August 25, 8pm PHILHARMONIA BAROQUE ORCHESTRA BRAD MEHLDAU, piano NICHOLAS McGEGAN, conductor DOMINIQUE LABELLE, YULIA VAN DOREN, Friday, August 26, 6pm (Prelude Concert) DIANA MOORE, CLINT VAN DER LINDE, MEMBERS OF THE BSO and WOLF MATTHIAS FRIEDRICH, vocal Music of Beethoven, Srnka, and Gershwin soloists HANDEL Orlando (concert performance) Friday, August 26, 8:30pm Extended concert with two intermissions BSO—BRAMWELL TOVEY, conductor Sung in Italian with English supertitles ALFRED WALKER, LAQUITA MITCHELL, NICOLE CABELL, MARQUITA LISTER, Friday, August 19, 6pm (Prelude Concert) JERMAINE SMITH, GREGG BAKER, and MEMBERS OF THE BSO additional vocal soloists Music of Schroeder and Dvorak TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Friday, August 19, 8:30pm GERSHWIN Porgy and Bess BSO—CHRISTOPH VON DOHNANYI, Concert performance of original 1935 production conductor version MARTIN HELMCHEN, piano Saturday, August 27, 10:30am SCHOENBERG Chamber Symphony No. 1 SCHUMANN Piano Concerto Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 28 BEETHOVEN Symphony No. 3, Eroica Saturday, August 27, 8:30pm Saturday, August 20, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOSTON SYMPHONY ORCHESTRA BSO program of Sunday, August 21 ITZHAK PERLMAN, conductor and violin ALL- BEETHOVEN PROGRAM Saturday, August 20, 8:30pm Romances Nos. 1 and 2 for violin and Film Night at Tanglewood orchestra BOSTON POPS ORCHESTRA Symphony No. 1 JOHN WILLIAMS, conductor Symphony No. 5 GIL SHAHAM, violin MORGAN FREEMAN, narrator Sunday, August 28, 2:30pm A program featuring Gil Shaham in film BSO—LORIN MAAZEL, conductor music arranged for violin and orchestra, JOYCE EL-KHOURY, MARGARET and a salute to the Hollywood western GAWRYSIAK, GARRETT SORENSON, and with Morgan Freeman as guest narrator ERIC OWENS, vocal soloists for John Williams's Suite from The Reivers TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Sunday, August 21, 2:30pm BEETHOVEN Symphony No. 9 BSO—BERNARD LABADIE, conductor BENEDETTO LUPO, piano ALL-MOZART PROGRAM Chaconne from Idomeneo Piano Concerto No. 18 in B-flat, K.456 Symphony No. 41, Jupiter Programs and artists subject to change. massculturalcouncil.or C>^ 2011 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. Other venues are the Shed, Chamber Music Hall, and Theatre. * indicates that tickets are available through the Tanglewood box office or SymphonyCharge. i> indicates that admission is free, but restricted to that evening's concert ticket holders. * Tuesday, June 28, 11am, 3pm (Theatre) Sunday, July 10, 10am Wednesday, June 29, 11am, 3pm (Theatre) * Chamber Music String Quartet Marathon: Music of HAYDN, Sunday, July 10, 8pm (Theatre) BEETHOVEN, BRAHMS, BARTOK, DVORAK, An Evening of Opera and Song SHOSTAKOVICH, and others. One ticket TMC VOCAL, INSTRUMENTAL, and provides admission to all four performances. CONDUCTING FELLOWS * Tuesday, June 28, 8pm MARK MORRIS, stage director * Wednesday, June 29, 8pm Milhaud's Trois Operas-minutes, plus music MARK MORRIS DANCE GROUP of Monteverdi, Handel, and Carissimi TANGLEWOOD MUSIC CENTER FELLOWS Monday, July 11, 6pm J> Choreography by Mark Morris to music of Steinway Series Piano Prelude STRAVINSKY and BACH * Monday, July 11, 8pm Sunday, July 3, 10am TMC ORCHESTRA Chamber Music—Stefan Asbury, conductor STEFAN ASBURY and TMC CONDUCTING TMC Conducting Fellows FELLOWS, conductors Tuesday, July 5, 2:30pm STRAVINSKY Danses concertantes Opening Exercises PROKOFIEV Lieutenant Kije Suite (free admission; open to the public) RACHMANINOFF Symphonic Dances Wednesday, July 13, 8pm. Tuesday, July 5, 6pm J> Steinway Series Piano Prelude Vocal and Chamber Music * Tuesday, July 5, 8pm Saturday, July 16, 6pm J> The Phyllis and Lee Coffey Memorial Concert Prelude Concert TMC ORCHESTRA Sunday, July 17, 10am MIGUEL HARTH-BEDOYA and TMC Chamber Music CONDUCTING FELLOWS, conductors * Sunday, July 17, 8pm BARBER Second Essay for Orchestra The Daniel Freed and Shirlee Cohen Freed COPLAND Billy the Kid Suite Memorial Concert BERNSTEIN Symphony No. 2, The Age of Anxiety TMC ORCHESTRA—KURT MASUR and TMC CONDUCTING FELLOWS, conductors Wednesday, July 6, 8pm STRAUSS Till Eulenspiegel's Merry Pranks Vocal and Chamber Music KODALY Hdryjdnos Suite Saturday, July 9, 6pm J> DUKAS The Sorcerer's Apprentice Prelude Concert (TMC Faculty) SCHUMANN Symphony No. 2 For TMC concerts other than TMC Orchestra concerts, tickets are available one hour prior to concert start-time at the Ozawa Hall box office only. Tickets are $11. Please note that avail- ability of seats inside Ozawa Hall is limited and concerts may sell out. Order your tickets in advance for TMC Orchestra concerts (July 5, July 11, July 17, July 25, August 14) and FCM events (August 3-7) by calling SymphonyCharge at 1-888-266-1200 or (617) 266-1200. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission, and Friends at the $150 level or higher receive two free admissions, to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, the Fromm Concert, and TMC Orchestra concerts) . Friends should present their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets (excluding TMC Orcherstra concerts) can be purchased one hour prior to each recital, chamber music, or Festival of Contemporary Music concert for $11. FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267. Tuesday, July 19, 8pm Chamber Music Wednesday, August 3—Sunday, August 7 2011 FESTIVAL OF CONTEMPORARY Saturday, July 23, 6pm J> MUSIC Prelude Concert Charles Wuorinen, Festival Director Sunday, July 24, 10am The 201 1 Festival Contemporary Music is Chamber Music of made possible by grants from the Aaron Copland Sunday, July 24, 8pm Fund for Music, the Fromm Music Foundation, Vocal Chamber Concert the National Endowment for the Arts, the Ernst von Siemens Music Foundation, the Helen F. Monday, July 25, 6pm J> Whitaker Fund, and by the generous support Vocal Prelude Concert ofDr. Raymond and Hannah H. Schneider. * Monday, July 25, 8pm Wednesday, August 3, 8pm TMC ORCHESTRA—JAAP VAN SWEDEN and Charles Wuorinen, conductor TMC CONDUCTING FELLOWS, conductors Ken Schmoll, director BEETHOVEN Leonore Overture No. 3 WUORINEN Never Again the Same; It DEBUSSY "Nuages" and "Fetes" from Nocturnes Happens Like This (world premiere; TCHAIKOVSKY Symphony No. 4 TMC commission) Saturday, July 30, 6pm J> Thursday, August 4, 8pm Prelude Concert The Fromm Concert at Tanglewood Sunday, July 31, 10am ENSEMBLE SIGNAL, guest ensemble Chamber Music BRAD LUBMAN, conductor CHRISTOPHER OTTO, violin Tuesday, August 2 * FRED SHERRY, cello TANGLEWOOD ON PARADE Music of HO (world premiere; TMC To benefit the Tanglewood Music Center commission), PICKER, ECKARDT, 2:30pm: Chamber Music TMC FERNEYHOUGH, BABBITT, CHOWN- 5pm: TMC Chamber Music ING, and ZORN (world premiere; TMC 8pm: TMC Brass Fanfares (Shed) commission) 8:30pm: Gala concert (Shed) Friday, August 5, 2:30pm TMC ORCHESTRA, BSO, and BOSTON POPS ORCHESTRA ERROLLYN WALLEN, piano Music of HO, BEGLARIAN, HYLA, FES- STEFAN ASBURY, CHRISTOPH ESCHEN- TINGER, WALLEN, and PETERSON BACH, RAFAEL FRUHBECK DE BURGOS, and JOHN WILLIAMS, conductors Saturday, August 6, 2:30pm (Theatre) To include music of Wagner, Vaughan GEORGE FLYNN, piano < Williams, and Tchaikovsky AVI AVITAL, mandolin Music of HO, FLYNN, KONDO, and Saturday, August 6, 6pm j> KEREN Prelude Concert Sunday, August 7, 10am Thursday, August 11, 8pm DAVID FULMER, violin Chamber Music LOUIS KARCHIN, conductor Saturday, August 13, 11am Music of HO, BABBITT, FULMER, Works by TMC Composition Fellows DAWE, and KARCHIN Saturday, August 13, 6pm J> Sunday, August 7, 6pm J> Prelude Concert (Prelude Concert) URSULA OPPENS, piano Sunday, August 14, 10am Music of ECKARDT, BABBITT, RANDS, Vocal Concert KONDO, and PICKER * Sunday, August 14, 2:30pm (Shed) Sunday, August 7, 8pm The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRUHBECK The Margaret Lee Crofts Concert TMC ORCHESTRA DE BURGOS, conductor STEFAN ASBURY and TMC CONDUCT- STEPHANIE BLYTHE, mezzo-soprano ING FELLOWS, conductors TANGLEWOOD FESTIVAL CHORUS Music of LARA, KONDO, NORMAN, ALL-BRAHMS PROGRAM FELDER, and ROUSE Ndnie and Schicksalslied, for chorus and orchestra Alto Rhapsody for s mezzo-soprano, male chorus, and orchestra Symphony No. 2 — Saturday MAY 28 at 6pm AMERIGO TRIO with ALON GOLDSTEIN piano Saturday JUNE 11 at 8pm ANDRES DIAZ cello WENDY CHEN piano Saturday JULY 2 at 8pm CHRISTINE BREWER soprano CRAIG RUTENBERG piano Saturday JULY 23 at 8pm VASSILY PRIMAKOV piano FINE ARTS BOARDING Creative Writing Saturday AUGUST 13 at 8pm HIGH SCHOOL Dance ILYA POLETAEV piano Grades 9-12 Motion Picture Arts Saturday SEPTEMBER 3 at 8pm ARABELLA ENSEMBLE with CHRISTIAN STEINER piano Music Saturday SEPTEMBER 17 at 6pm Theatre HARLEM STRING QUARTET with SUMMER ARTS CAMP DANE JOHANSEN cello MISHA DICHTER piano Visual Arts Grades 3-12 nances are held on the grounds of Mount Lebanon Darrow School New Lebanon, NY. Information 888 820 1696 or www.tannerypondc www.interlochen.org Lenox (413) 637-9893 90 Pittsfield Road Fitness Lenox, MA www.lenoxfitnesscenter.com Center The reputation of the Jewish Nursing Home wasn't built from steel and stone. It grew out of the values embraced by and Spa the compassionate individuals who founded Jewish Geriatric Services. So yc shouldn't be surprised to learn that this • aerobics same tradition of quality and professional care is found throughout Jewish Gerial: • step Services' family of healthcare program • Jewish Nursing Home • yoga • Ruth's House Assisted Living Resident • Spectrum Home Health and Hospice Care • Spinning® • Wernick Adult Day Health Care Center • JGS Family Medical Care • pilates • Genesis House Subsidized Housing • outdoor programs Open to all faiths, Jewish Geriatric Services provides health-related care to individuals no matter what stage of life they are in. And these services • strength equipment will continue to be here for clients as their lifestyles and health change just as they have for nearly 100 years. • personal training • free weights • tanning to for are. Come know us who we Jewish Call us at 41.1.567.621 1 Or visit • fitness apparel Geriatric Services^ www.JewishGeriatric.org. Serving People of all Faiths • spa services Julian J Leawitl Spectrum Home Genesis House • juice bar Family Jewish Health and Subsidized Nursmij Homy Hospice C In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO's Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participat- ed in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center. Now in its 46th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction with the Boston Symphony Orchestra and the (photo: Michael J. Lutch) Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386. 2011 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted) ORCHESTRA PROGRAMS: Saturday, July 16, 2:30pm, Paul Haas conducts Tchaikovsky's Symphony No. 6 (Pathetique) and works of Shostakovich and Revueltas. Saturday, July 30, 2:30pm, Mei-Ann Chen conducts Rachmaninoff s Symphonic Dances and Franck's Symphony in D minor. Saturday, August 13, 2:30pm, David Hoose conducts Elgar's Enigma Varia- tions and Walton's Viola Concerto featuring Steven Ansell, BSO principal viola. WIND ENSEMBLE PROGRAMS: Friday, July 15, 8pm, David Martins conducts Jager, Wilby, Maslanka, and Epstein, featuring soloist Robert Sheena, BSO English horn, and a premiere by TMC Fellow Ruby Fulton. Friday, July 30, 8pm, H. Robert Reynolds con- ducts W. Schuman, Mackey, Bernstein, Rudin, Gould, and Bennett, featuring the Vento Chiaro Wind Quintet. VOCAL PROGRAMS: Saturday, August 6, 2:30pm, Ann Howard Jones conducts Brahms, Rheinberger, Paulus, Pinkham, Corigliano, Ligeti, Willan, and Wilberg. CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 18; Tuesday, July 19; Wednesday, July 20; Tuesday, August 9; Wednesday, August 10; Thursday, August 11. Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1431. 1 MODERNISM. South Mountain Concerts INSIDE AND OUT. Pittsfield, Massachusetts FROM ANCIENT TO ABSTRACT NEWLY RESTORED 93 rd Season of Chamber Music FOOTAGE OF GEORGE'S 1934 TRAVEL FILMS Concerts Sundays at 3 P.M. September 4 Menahem Pressler & Friends September 1 Orion String Quartet September 18 Juilliard String Quartet September 25 Wu Han, David Finckel, Philip Setzer October 2 Emerson String Quartet FRELINGHUYSEN MORRIS For Brochure and Ticket Information Write HOUSE & STUDIO South Mountain Concerts, Box 23 92 Hawthorne Street Lenox 413 637 0166 Thursday-Sunday Tours Pittsfield, 01 41 442-21 | | j 202 3 | MA Phone 06 from Tanglewood: 0.2 mi south on Rte. 183, left on Hawthorne Road, left on www.SouthMountainConcerts.com Hawthorne Street, entrance is 0.3 miles on left frelinghuysen.org What are you doing Friday nights this fall? invites you to the PBS Arts Fall Festival ^A/etheB^ Nine new adventurous arts programs check wgby.org Starting October 14th O for details Friday nights at 9 Tanglewood Business Partners The BSO gratefully acknowledges the followingfor their generous contributions of $650 and higher during the 2010-11 fiscal year. An eighth note J) denotes support of$l,250-$2,999, and those names that are capitalized denotes support of $3000 or more. For information on how to become a Tanglewood Business Partner, please contact Susan Beaudry, Manager of the Tanglewood Business Partners at (413) 637-5174 or [email protected]. Nancy J. Fitzpatrick, Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation ^Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • f Mr. and Mrs. Emery Sheer in honor of Mr. and Mrs. Alfred Schneider Advertising/PR/Market Research/Professional Business Services/Consulting Ed Bride Associates • ^The Cohen Group • Robert Gal Consulting • ^General Systems Company, Inc. • 1 J Mr. Lawrence Hurwit • Interim Healthcare Manager Search, Nielsen Healthcare Group, Inc. • Pennington Management, LLC • ^Pilson Communications, Inc. • ^R.L. Associates Antiques/Art Galleries Elise Abrams Antiques • DeVries Fine Art International • ^ Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. • R.W. Wise, Goldsmiths, Inc. Architects/Designers J* - • Jessie Cooney Design • edm architecture . engineering . management Hill-Engineers, Architects, Planners, Inc. • Jessie Cooney Design • Barbara Rood Interiors IIDA Automotive ^ Biener Audi Banking Adams Co-Operative Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • LEGACY BANKS • Lenox National Bank • J> The Pittsfield Cooperative Bank • South Adams Savings Bank • TD BANK Beverage/Food Sales/Consumer Goods BERKSHIRE CO-OP MARKET . J> Biscotti Babies & Edible Adventures • J> Crescent Creamery, Inc. • GOSHEN WINE & SPIRITS, INC. • Guido's Fresh Marketplace • High Lawn Farm • KOPPERS CHOCOLATE • J> Price Chopper's Golub Foundation Contracting/Building Supply Alarms of Berkshire County • ^ RJ. Aloisi Electrical Contracting, Inc. • BERKSHIRE LANDMARK BUILDERS Lou Boxer Builder, LLC • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • • • Great River Construction Co. DAVID J. TIERNEY, JR., INC. PETER D. WHITEHEAD BUILDER, LLC Education Belvoir Terrace - Visual & Performing Arts Center • Berkshire Country Day School • CAREERS THROUGH CULINARY ARTS PROGRAM • Massachusetts College of Liberal Arts • ^ Thinking in Music, Inc. Energy/Utilities/Heating & Cooling ESCO Energy Services Company . Ray Murray, Inc. • VIKING FUEL OIL COMPANY, INC. Engineering J Foresight Land Services Environmental Services MAXYMILLIAN TECHNOLOGIES, INC. • Nowick Environmental Associates Financial Services ABBOTT CAPITAL MANAGEMENT, LLC • THE BERKSHIRE CAPITAL INVESTORS • BERKSHIRE MONEY MANAGEMENT, INC. • ^Berkshire Wealth Advisors of Raymond James • Mr. and Mrs. Robert Haber • J> Kaplan Associates L.P. • J True North Financial Services High Technologies/Electronics General Dynamics AIS • ^New Yorker Electronics Co., Inc. Insurance ^Bader Insurance Company, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. A KINLOCH COMPANY . Keator Group,LLC • s L.V. Toole Insurance Agency, Inc. • -''True North Insurance, Inc. through specialization Oliver Wyman is a leading global management consulting firm that combines deep industry knowledge with specialized expertise in strategy, operations, risk management, organizational transformation, and leadership development. Learn more at www.oliverwyman.com. OLIVER WYMA Legal -^ Braverman & Associates, P.C. • Cianflone & Cianflone, P.C. • Jay M. Cohen, P.A. • • at • COHEN KINNE VALICENTI & COOK LLP Michael J. Considine, Attorney Law Deely & Deely Attorneys • Grinnell Smith, LLP • Heller & Robbins • Hochfelder & Associates, P.C. • Jonas 8c Welsch, P.C. • Law Offices of David L. & Juliet P. Kalib • ^Attorney Linda Leffert • Norman Mednick, Esq. • ^Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging ^1804 Walker House • A Bed & Breakfast in the Berkshires • Mpplegate Inn • APPLE TREE INN • J Berkshire Comfort Inn & Suites • ^ Berkshire Cooking Getaway • ^ Berkshire Hampton Inn 8c Suites • J> Birchwood Inn • BLANTYRE • J> Brook Farm Inn • ^ Chesapeake Inn of Lenox • CRANWELL RESORT, SPA & GOLF CLUB • J> Days Inn Downtown Great Barrington • J> Devonfield Country Inn • Eastover Hotel 8c Resort • ELM COURT ESTATE • ^ An English Hideaway Inn « J' Federal House Inn • J* The Garden Gables Inn • J> Gateways Inn 8c La Terrazza Restaurant • J* Inn at Green River • J Historic Merrell Inn • Jonathan Foote 1778 House B&B • KEMBLE INN • LENOX ATHENAEUM AT THE WINTHROP ESTATE • THE PORCHES INN AT MASSMOCA . THE RED LION INN • 1 J> The Inn at Richmond and The Berkshire Equestrian Center • J> The Rookwood Inn • J Seven Hills Inn • ^ThelnnatStockbridge • TOM 8c SUKI WERMAN • The Weathervane Inn • THE WHEATLEIGH HOTEL 8c RESTAURANT Manufacturing/Industrial J> Barry L.Beyer • J> Onyx Specialty Papers, Inc. • SHEFFIELD PLASTICS, INC. Photography Lifestyle Photography • J> Light Room Event Photography Publishing/Printing QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS, INC. • THE STUDLEY PRESS, INC. Real Estate ^Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • J> Benchmark Real Estate • J Berkshire Property Agents • ^ Brause Realty • J 1 Cohen 8c White Associates • FJ Forster Real Estate • $ Barbara K. Greenfeld • Barb Hassan Realty, Inc. • Hill Realty, LLC • THE PATTEN FAMILY FOUNDATION • Real Estate Equities Group LLC • Roberts & Associates Realty, Inc • Stone House Properties, LLC • Michael Sucoff Real Estate • *> Lance Vermeulen Real Estate Restaurants ^Alta Restaurant & Wine Bar • ^ Baba Louie's Wood Fired Organic Sourdough Pizza • J> Cafe Lucia • Cakewalk Bakery Cafe • Chez Nous Bistro • Cork 'N Hearth • Firefly • -^Jonathan's Bistro • ^ Mazzeo's Ristorante • ^ Prime Italian Steak House 8c Bar Retail AMERICAN TERRY CO. • Arcadian Shop • Bare Necessities • Ben's • ^Carr Hardware and Supply Co., Inc. • CASABLANCA • J> Chocolate Springs Cafe • COUNTRY CURTAINS • CRANE & COMPANY, INC. • Garden Blossoms Florist • The Gifted Child • f Glad Rags • Orchids, Etc. of Lee • J Paul Rich 8c Sons Home Furnishings 8c Design • * Ward's Nursery & Garden Center • Windy Hill Farm, Inc. Science/Medical • ^510 Medical Walk-In • J. Mark Albertson D.M.D., PA. • Austen Riggs Center * Back To Life! Chair Massage Practitioners • Stanley E. Bogaty, M.D. • Berkshire Health Systems • * Lewis R. Dan, M.D. • Dr. and Mrs. Jesse Ellman • ^ Eye Associates of Bucks County • Dr. Steven M. Gallant • 1> Leon S. Harris MD • Fred Hochberg, M.D. • William Knight, M.D. • Carol Kolton, LCSW • $ Livingstone Dental Excellence and The Canaan Gentle Dental 8c Implant Center • Long Island Eye Physicians and Surgeons, P.C. • Dr. and Mrs. Charles Mandel • Dr. Joseph Markoff • Northeast Urogynecology • G. Michael Peters, M.D. • Philadelphia Eye Associates • Donald Wm. Putnoi, M.D. • 1 J Robert K Rosenthal, MD PC • ^ Royal Home Health Care Services of New York • Chelly Sterman Associates • J> Suburban Internal Medicine Services ^ALADCO Linen Services • Berkshire Horseback Adventures/Berkshire Icelandics • Dery Funeral Home • Limited Edition Lighting • Amy Lindner-Lesser, Justice of the Peace • 1 THE MARKETPLACE CATERING • MYRIAD PRODUCTIONS, INC. • J SEVEN salon. spa • J> Shear Design Storage J Security Self Storage • J> SpaceNow! Corporation Tourism/Resort CRANWELL RESORT, SPA & GOLF CLUB • CANYON RANCH • -^Jiminy Peak Mountain Resort/EOS Ventures Transportation ABBOTT'S LIMOUSINE SERVICE 8c LIVERY DR. KAREN LAVOIE Professor, Music Department Red Sox Fan We are explorers and scholars, builders and innovators, artists and athletes, dream seekers and care takers. We are a community of possibilities — onsite, online and in touch, what makes us diverse brings us together. WeAreWestfield.com STATE UNIVERSITY Friends are Instrumental to Tanglewood Join the Friends of Tanglewood today. THOUSANDS OF PEOPLE EACH YEAR. You can make our important education and community OUTREACH PROGRAMS POSSIBLE. Friends of Tanglewood enjoy a special relationship as members of the BSO's Tanglewood family. By making a gift today, you will support Tanglewood and ensure that its glorious music keeps playing. Friends memberships start at just $75, and when you join, you will receive priority ticket ordering privileges, our donor-only online newsletter, and exclusive parking and dining opportunities*. For more information about the Friends of Tanglewood, visit the Friends Office or the information cart on the lawn, or call at 413-637-5261; 617-638-9267; or [email protected]. loin online at tanglewood.org/contribute. Offers for exclusive parking and dining opportunities vary by giving level. FRIENDS OF Tanglewood Tanglewood Major Corporate Sponsors 2011 Season Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following companies and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (61 7) 638-9279 or at [email protected]. Bank of America At Bank of America, we celebrate the arts as a way to honor history, inspire innovation and creativity, and stimulate local economies. Here at Tanglewood, our philanthropy funds scholar- ships for hundreds of youth to participate in "Days in the Arts at Tanglewood," providing access to this Bob Gallery Massachusetts President, wonderful program for children from every corner Bank of America of the Commonwealth. Bank of America offers customers free access to more than 150 of the nation's finest cultural institutions on the first full weekend of every month through its acclaimed Museums on Us® program. In fact, Massachu- setts Museum of Contemporary Art in North Adams is our most recent addition to this program, joining the other five participating Massachusetts museums in Boston, Cambridge, Cape Cod, Lincoln and Worcester. Visit www.bankofamerica.com/museums to learn more. The arts, in all its forms, lend vitality to a community. At its best, art inspires, transcending socio-economic barriers and celebrating diversity - it represents what is best about the Berkshires. We are honored to con- tinue our longstanding partnership with the Boston Symphony Orchestra - both during summers at Tangle- wood, and the remainder of the year in Boston - and regard them with the deepest admiration for enriching our communities, educating our families, celebrating the past and inspiring the future. OMMONWEALTH WORLDWIDE \ CHAUFFEURED TRANSPORTATION JM* 4 Ifv tH*' ' jf''^ « Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Dawson Rutter Boston Symphony Orchestra and Boston Pops. The BSO has President and CEO delighted and enriched the Boston community for over a cen- tury and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. HARVARD DIVISION OF CONTINUING EDUCATION Harvard's Division of Continuing Education is pleased to sponsor the Boston Symphony Orchestra at Tanglewood. Michael Shinagel, Through Harvard Extension School, Harvard Summer School, PhD Dean of Continuing and the Institute for Learning in Retirement, the Division Education and University offers more than 900 liberal arts and professional courses to Extension the public, educating more than 20,000 students each year. The BSO and Harvard Extension School have enriched the community for more than a century, and share the important tradition of bringing arts and education to the community. STEINWAY 6 SONS Steinway 8c Sons is proud to be the exclusive provider of pianos to Symphony Hall and Tanglewood. Since 1853, Ron Losby Steinway pianos have set an uncompromising standard President - Americas for sound, touch, beauty, and investment value. Steinway remains the choice of 9 out of 10 concert artists, and it is the preferred piano of countless musicians, professional and amateur, throughout the world. FAVORITE RESTAURANTS OF THE BERKSHIRES Our Own Ice Cream & Sorbets HAVEN Cafe & Bakery Kjhocolaie Spr/nys Breakfast & tuned served alt day 'Dinner 'Wed. - Sun. Tanglewoodpicnics Cafe *We support Local businesses farmers & (413) 637-9820 - Route 7, Lenox, MA franklin street lenox 413.637.8948 WWW.CHOCOLATESPRINGS.COM 413-442-2290 117FENNST PITTSFIELD www.madjacksbbqonline.com call us for a TANGLEWOOD Picnic Pack ENTREES Route 102, Lee, MA 413-394-4047 FROM $13 Serving Daily 5pm to 10pm BOMBAY CLASSIC INDIAN CUISINE LUNCH • DINNER • WEEKEND BRUNCH At Quality Inn 435 Laurel Street • Lee, MA 01238 413 243 6731 www.fineindiandining.com FARE FOR ALL SUMMER MENUS, PERFECTLY SEASONED TAVERN I MAIN DINING ROOM I LION'S DEN PUB ^Comparable to the Best in NYC" Zagat 2009 Supporting Local Farmers and Producers IheRedLmInn m^EH Gourmet Japanese Cuisine & Sushi Bar DISTINCTIVE LODGING • ARTFUL CUISINE • TIMELESS ELEGANCE 17 Railroad, Great Barrington, MA 413-528-4343 30 Main Street, Stoekbridge, MA (413)298-5545 | RedLionlnn.com | Tatami Rooms Kaiseki Robata Bar FAVORITE RESTAURANTS OF THE BERKSHIRES £9ug& restaurant & bistro 3 Center Street • West Stockbridge, MA (413) 232-4111 •www.rougerestaurant.com Elm Street Market Bf^eXKFXST, LUNCH & LOCXL COtflP SGrWeD. TXNCL6W00D PICNIC BASKETS XVXILXBL6. STOCKBPJDqe, MA • 413-298-3634 47 Railroad Street Great Barrington, MA 01 230 413.528.0351 http://www.fiorirestaurant.com (413)298-4433 Chef Luis Zambrano, Proprietor Route 183 www.VivaBerkshires.com Glendate, MA 01229 CUCI9&L ITALIJMfa & If you would like to be part of 'Enjoy Authentic Italian this restaurant page, please 'food in the (Berl(sfuTes www.trattoria-vesuvio.com call 781-642-0400. cF%\cnO'RJ& "IL VESZLVIO" "RpVrES7dr20, Lew^M/l 01240 (413)637-4904 Tanglewood Emergency Exits Koussevitzky Music Shed B D ^ Seiji Ozawa Hall |JEXTT[_ EXIT EXIT EXIT STAGE EXIT EXIT EXIT EXIT EXIT V, EXIT FIRST BALCONY SECOND BALCONY Hi There! We're so happy to see you in the Berkshires this summer. We love sitting next to you and listening to the music, but do us a favor. Leave your firewood at home. Bugs that kill us live in firewood. When you move it, you could accidently bring them here with you. We want to welcome you with open branches every time you come back. So, leave the firewood at home, and buy local when you get here. Enjoy the shade! Sincerely, That's What Tree Said ii AUSTEN RIGGS CENTER A distinctive psychiatric hospital Intensive psychotherapy in an open community. Stockbridge, MA 01 262 (41 3) 298-551 1 www.austenriggs.org SECURE YOUR jUtllTCy PROTECT YOUR USSCtSy enjoy life. Celebrating 21 years of excellence, Kimball Farms provides a setting that is active, meaningful and rewarding. Independent Living Assisted Living— Traditional & Dementia Care Skilled Nursing Wanning 1""* o«r startedfir . Wellness V Center/ A Member of Berkshire Healthcare Kimball Farms Life Care 235 Walker Street Lenox, MA 01240 Kimball Farms Retirement Community www.kimballfarms.org • (413) 637-7000 ONE ONE DAY UNIVERSITY® DAY UNIVERSITY at Tanglewood Sunday, August 28, 2011 at Beethoven, The Beatles, FDR, and Your Brain Tanglewood Join acclaimed professors from Columbia, Brown and Vanderbilt for three stimulating presentations in Ozawa Hall. Then join conductor EVENT SCHEDULE for AUGUST 28, 2011 Lorin Maazel as he leads the Boston Symphony Orchestra in its LECTURES TAKE PLACE IN OZAWA HALL perennial Tanglewood finale: Beethoven's Ninth Symphony. 8:30 am Check in FDR and the Path to WWII: What We Know Now That We Didn't Know Then 9:00-10:10 RICHARD PIOUS, am Richard M. Pious • Columbia University Columbia On December 7, 1941, the Japanese bombed Pearl Harbor; four days later Germany and Italy also declared the U.S. Yet America's involvement 10:10-10:25 am Break war on in World War II had been predetermined as early as May of 1940 when FDR 10:25-11:35 am JOHN STEIN, circumvented an isolationist Congress by making a secret deal with Brown Winston Churchill and the British. 11:35-11:50 am Break Where Are My Keys? Understanding How Memory Works 11:50 am-i:oo pm MICHAEL ROSE, John J. Stein • Brown University Vanderbilt Why can't you remember where you left your keys? Why can't you remember 1:00-2:30 pm Break the name of that person you met last week? Why do these memory lapses and communication problems increase in frequency as some people grow 2:30 pm BSO, older, but others don't have this problem at all? Is there something changing Koussevitzky in the way our brains function? Music Shed GENERAL REGISTRATION: The Beatles and Beethoven: Hearing the Connection Michael Alec Rose • Vanderbilt University $149 The finale of Beethoven's Ninth Symphony and the Beatles song "Hey Jude" Advance purchase required share compelling connections. The scope of each work is unprecedented: a vast choral movement and a seven-minute song were both radical departures Each registration includes all three professor presentations and one complimentary lawn for symphonic music and rock 'n' roll, respectively. But it's the singular admission to the Shed concert* spiritual message shared by these pieces which truly binds them together (Route 183, West Street, Lenox, MA) across historical time and stylistic distance. To register, or for more After the lectures, enjoy the Tanglewood Lawn Experience: information, call BOSTON SYMPHONY ORCHESTRA 888-266-1200 BEETHOVEN Symphony No. 9 Lorin Maazel, conductor Eric Owens, bass-baritone or visit us online at: Joyce El-Khoury, soprano Tanglewood Festival Chorus, tanglewood.org/onedayu Margaret Gawrysiak, mezzo-soprano John Oliver, conductor Garrett Sorenson, tenor ONE DAY UNIVERSITY a* Tanglewood • 888-266-1200 • tanglewood.org/onedayu One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. All One Day University lecture ticket holders are eligible for a 10% discount on 8/28 Shed tickets purchased in advance of the concert. Tanglewood is a registered service mark of the Boston Symphony Orchestra, Inc. Visit us at bankofamerica.com e re proud to suppor e voices o our community. When community members speak about supporting the arts, we respond to their call for making the possible actual. Valuing artistic diversity within our neighborhoods helps to unite communities, creating shared experiences and inspiring excellence. Bank of America is proud to support Tanglewood for their leadership in creating a successful forum for artistic expression. Bank of America